Music

PASTORAL
NATIONAL ASSOCIATION of
PASTORAL MUSICIANS

August-September 2007

Hymns and Liturgical Songs

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From the President
What Is a Pastoral Musician?
What do you call yourself? I have called myself
organist, pianist, accompanist, choir singer, cantor,
church musician, liturgical musician, choir director,
ensemble director, music director, director of music
ministriesand more!
There are, however, no names that I find more
helpful and descriptive than the titles pastoral
musician and pastoral music minister. In fact, I
think that these names are so compelling precisely
because they place the others in their proper context.
Many ways of naming the musicians role are
based on what we do (sing, play, direct) or where we
do it (church, liturgy). The term pastoral musician,
however, draws attention to the why and the how of the
service that we provide to the church at prayer.
Why do we serve the Church as musicians? We sing,
play, and lead in large part because we ourselves love
music and have experienced its power. We have also
come to believe deeply in the impact of music on the
worshiping community and on the individual believers
who gather.
Music has a sacramental quality it discloses the
presence and action of God in our midst.
It engages the full, conscious, and active
participation of the assembly and draws its
members into the mystery of Christ.
The song of the liturgy expresses the faith of the
liturgical assembly in a way that only music can
do.
The music of worship, like all actions and
elements of the liturgy, forms and strengthens
Gods people in their faith.
2 August-September 2007 Pastoral Music
30852_AS 07 Front.indd 2
Singing together builds up the community of the
Church and forms us as one body in Christ.
The Churchs liturgy and its music summon and
equip followers of Christ for a life of witness and
service in the world.
How do we carry out our role? Pastoral musicians
perform their ministry with a keen awareness of the
relationships upon which it is based.
Music ministers are engaged in a common effort
with the singing assembly, with the priest and
other ministers, and with other musicians who
sing and play at the liturgy. When all work
together harmoniously, the song of the liturgy
can be a powerful sign of unity and deepen the
oneness of the local community.
Pastoral music ministers are attentive to the
needs of the gathered community and to events
in the world around them. They are attuned to
the joys and hardships of the congregation and
deeply aware of violence, injustice, poverty, and
other forms of human suffering. Sensitivity to
people and their concerns guides musicians in
their choices and in their manner of singing and
playing.
Pastoral musicians must of course be committed
to their craft, always seeking to sing, play, or direct
skillfully. Good pastoral musicians must be good
musicians, grounded in strong musical training and
always developing their musical abilities. Pastoral
musicians exercise a liturgical ministry, and so they also
need solid formation in the liturgy of the Churchits
various rites, seasons, feasts, ministries, and other
elements.
To serve well, musicians need to receive solid
formation not only in music and liturgy but also in
the tools of pastoral ministry, such as Scripture and
theology. Above all a pastoral musician must possess
a pastoral heart which is formed through prayer,
reflection, and a genuine love for God and for the
people we serve.
May this new program year be a time of blessing
and renewal for all of us who have accepted the call to
pastoral music ministry.
J. Michael McMahon
President
7/16/2007 10:21:19 AM
 Music
NATIONAL ASSOCIATION of PASTORAL
PASTORAL MUSICIANS

August-September 2007
Volume 31:6

Pastoral Music (ISSN 0363-6569) is published

bimonthly by the National Association of
Pastoral Musicians (NPM), 962 Wayne Av-
Contents
enue, Suite 210, Silver Spring, MD 20910. Readers Response 5 Association News 7
NPM is an organization of musicians and
clergy dedicated to fostering the art of
musical liturgy. Member services include Virginia Tech: Music Ministry and a Monday in April 12
the bimonthly newsletter Pastoral Music by bryan schamus
Notebook, discounts on NPM conventions and
institutes, and other benefits.
Establishing Criteria for Liturgical Songs: 17
Editorial, Executive, and Advertising Offices:
962 Wayne Avenue, Suite 210, Silver Spring,
The Directory for Music and Liturgy
MD 20910-4461. Phone: (240) 247-3000. Fax: by j. michael mcmahon
(240) 247-3001. E-mail: NPMSing@npm.org.
Advertising: Phone: (503) 289-3615. E-mail: We Need Contemporary, Humanly Attractive 20
NPMKaren@npm.org.
Songs for the Liturgy
Publisher: Dr. J. Michael McMahon; by delores dufner, osb
Editor: Dr. Gordon E. Truitt;
Assistant Editor: Ms. Andrea Schellman;
Advertising Director: Ms. Karen Heinsch; Gather Us In: Songs about the Assembly 24
Music Review Editor: Dr. Marie Kremer; by roc oconnor, sj
Book Review Editor: Ms. Anne Y. Koester;
Printing: Epiphany Printing
The Faith We Sing 29
Membership Information: Regular Parish
by the npm staff
Membership in NPM (clergy and musician,
both included as members): $97 per year. $52
of this amount is for subscriptions to Pastoral We Are What We Sing: Sing, But Keep Going 32
Music for one year. Single Parish Member- by ruth c. duck
ship (one member): $70 per year. $26 of
this amount is for a subscription to Pastoral
Music. Youth Membership: $29. Retired/Se- Background
nior Membership: $29. Benefits equivalent to Origins of the Latin Liturgical Hymn 34
individual membership. Group membership
by joseph connelly
rates are available. Membership rates in effect
as of January 1, 2007.
Subscription Information: One-year subscrip- Music Industry News 35 Professional Concerns 37
tion, six issues a year (bimonthly), $39. Hotline 39 Reviews 45
Library rate: $39. Single copy: $7. For second Calendar 55 Bulletin Insert 56
class postage to Canada, add $11 per year
for each membership (includes postage for Cover: Top: Papyrus 1786, Oxyrhynchus, Egypt, dating from the late third century, discovered in
Notebook); $7 per year for each subscriber. For 1918 and published in 1922, now in the Papyrology Rooms of the Sackler Library, Oxford Uni-
postage to all other countries, add $15 per versity, UK, contains the earliest known manuscript of a Christian hymn with lyrics and musical
year for each membership (includes Note- notation (Greek letter notation). It is diatonic, with an ambitus of less than an octave, and the
book); $10 per year for each subscriber. text is largely set syllabically with a few short melismas. The surviving text invokes silence so
that the Holy Trinity may be praised: Let the luminous stars not shine,/Let the winds [?] and
Copyright 2007 by the National Associa- all the noisy rivers be quiet;/ And as we praise the Father, the Son, and the Holy Spirit,/ Let all
tion of Pastoral Musicians. the powers add: Amen. Amen. . . . Bottom: Walking on Water Christian Church at the Mason
Corporation Musical Oasis, City Stages 2006, Birmingham, Alabama, photo by Scott Schram,
http://schram.net, used with permission.
Additional photos courtesy of Bryan Schamus, Virginia Tech University; Villanova University
Periodicals postage paid at Silver Spring,
Campus Ministry, photos by Bradley Degnan; Church of St. Augustine, San Gimignano, Italy;
Maryland, and additional mailing offices.
Churches Uniting in Christ; Union of Catholic Asian News (UCAN); Vincent Connare 2006
Postmaster: Send address change to Pastoral
(page 24); Galleria dellOspedale degli Innocenti, Florence, Italy; Peter Maher; Archdiocese of
Music, 962 Wayne Avenue, Suite 210, Silver
Baltimore Office of Ministry with Gay and Lesbian Catholics; Derrick Mealiffe, Toronto, Ontario;
Spring, MD 20910-4461.
and NPM photo files.
Pastoral Music August-September 2007 3

30852_AS 07 Front.indd 3 7/16/2007 10:21:20 AM

 Mission Statement
The National Association of Pastoral Musicians fosters the art of
musical liturgy. The members of NPM serve the Catholic Church
in the United States as musicians, clergy, liturgists, and other
leaders of prayer.

NPM Board of Directors NPM National Office

962 Wayne Avenue, Suite 210
Sr. Judith Marie Kubicki, cssf, Chair (2007) Silver Spring, Maryland 20910-4461
Dr. Michael Connolly, Vice Chair (2009) Phone: (240) 247-3000 Fax: (240) 247-3001
Mr. Charles Gardner (2007) General e-mail: NPMSing@npm.org
Mr. Stephen Petrunak (2009) Web: www.npm.org
Dr. James Savage (2007)
Dr. J. Michael McMahon, NPM President Dr. J. Michael McMahon, President
Ext. 12 E-mail: McMahon@npm.org
NPM Council Rev. Virgil C. Funk, President Emeritus
At-Large Representatives
Ms. Anne Ketzer (2008) Membership
Ms. Michelle Ogren (2008) Ms. Kathleen Haley, Director of Membership Services
Dr. Jennifer Pascual (2008) Ext. 19 E-mail: haley@npm.org
Mr. Steven Warner (2008) Ms. Janet Ferst, Membership Assistant
Mr. Brian Bisig (2010) Ext. 15 E-mail: npmjanet@npm.org
Mr. Tim Dyksinski (2010)
Ms. Jacqueline Schnittgrund (2010) Education
Dr. Dolly Sokol (2010) Rev. Dr. Paul H. Colloton, op, Director of Continuing Education
Ext. 11 E-mail: npmpaul@npm.org
Committees for Operations Mr. Peter Maher, Program Coordinator
Rev. James Wm. Bessert, Publications (2008) Ext. 22 E-mail: npmpeter@npm.org
Mr. John Kubiniec, Membership (2008)
Mr. Tony Varas, Finance (2008) Publications
Rev. Michael Driscoll, Education (2010) Dr. Gordon E. Truitt, Senior Editor
Sr. Claudette Schiratti, rsm, Certification (2010) Ext. 21 E-mail: npmedit@npm.org
Mr. Pedro Rubalcava, Music Industry (2010)

Standing Committees Exhibits and Advertising

Mr. Joseph F. Marino, Responsible for Leadership of Music Ministries Ms. Karen Heinsch, Exhibits and Advertising Manager
Mr. Michael Wustrow, Choir Directors Phone: (503) 289-3615
Dr. Lynn Trapp, Organists E-mail: npmkaren@npm.org
Ms. Nancy Deacon, Pianists
Mr. Joe Simmons, Cantors Administration
Ms. Gael Berberick, Ensemble Musicians Mr. Lowell Hickman, Office Manager and Executive Assistant
Rev. Robert Webster, Clergy Ext. 25 E-mail: lowell@npm.org
Dr. Richard P. Gibala, Diocesan Directors of Music Mrs. Mary Rodriguez, Receptionist and Secretary
Dr. Dolores Martinez, Hispanic Musicians Ext. 10 E-mail: npmsing@npm.org
Mr. Timothy Jacquet, African American Musicians Mr. Paul Lagoy, Secretary and Mail Clerk
Mr. Stephen Steinbeiser, Campus Ministers Ext. 26 E-mail: npmpub@npm.org
Mr. Tim Westerhaus, Youth Mr. Anthony Worch, Finances
Col. Tom Luna, Musicians in the Military Ext. 15
Prof. J. Michael Thompson, Eastern Church Musicians (ad hoc)
Mr. Bruce Croteau, Pastoral Liturgy
Rev. Ricky Manalo, csp, Asian and Pacific Rim Musicians (ad hoc)
Sr. Nancy Burkin, ssj, Musicians Serving Religious Communities (ad hoc)
Rev. Anthony Ruff, osb, Chant (ad hoc)
Mr. Nicholas Palmer, Composers (ad hoc)

Ex-Officio Representatives
Most Rev. Daniel N. DiNardo, Episcopal Moderator
Sr. Judith Marie Kubicki, cssf, Board of Directors Chair
Mr. Thomas V. Stehle, Council of Chapters Chair
Ms. Joanne Werner, DMMD Division President Additional Staff
Ms. Tracy Lake, NPM-MusEd Division President Mr. Joseph Lively, Comptroller
Mr. Peter Maher, NPM Staff Representative Ms. Andrea Schellman, Assistant Editor
The Association President and the NPM Board members also serve on Ms. Kathi Zysk, Website Manager
the NPM Council without a vote. Ms. Lisette Christensen, Website Designer

 August-September 2007 Pastoral Music

30852_AS 07 Front.indd 4 7/16/2007 10:21:21 AM

 Readers Response
Choir Director Institute:
Exhilarating and Exhausting
There is no substitute for extended
study. That said, I found the 2006 Choir
Director Institute to be an exhilarating
(and exhausting!) week last summer which
benefited my work this past year.
The institute faculty addressed the nuts
and bolts of being a choir director as well
as putting the work we do in context of
serving God and the Church. One of the
most valuable experiences for me was
the chance to be a choir member again as
the faculty rehearsed the attendees in a
variety of pieces. Not only could I study
the styles and techniques of three excellent
conductors, I also remembered what its
like to be a choir member and consciously
tried to be more aware of choir members
who were volunteering their time after a
hard days work.
I welcomed the chance to work inten-
sively on my conducting patterns and
enjoyed singing music in a variety of styles
that were new to meincluding several
pieces we used this year. Ive altered how
I do rehearsals and how I prepare them.
And the perspective I gained from talk-
ing to colleagues across the country is
eye-opening and invaluable.
I highly recommend this institute,
especially to music ministers who have
been in the same position for a few years
and are wondering how to further improve
their skills.
Chris ngel
Urbana, Illinois
A Fascinating Issue
Thank you for a fascinating issue
discussing the upcoming revision of the
Roman Missal (June-July 2007). I have seen
some of the preliminary draft translations
of the Order of Mass and recall learning
similar responses for my first Commu-
nion in the late 1960susing the first
English translation of the Tridentine Mass
issued by the U.S. Bishops Committee
on the Liturgy in 1966. I still have my
grandmothers New St. Josephs Daily Mis-
sal and Hymnal published that same year
Pastoral Music August-September 2007
30852_AS 07 Front.indd 5
by Catholic Book Publishing Company othersin the United States and abroad.
with those close-to-literal translations (aka I personally feel a sense of loss at how
formal equivalence). the future texts of the Order of Mass will
During this same time, an ecumeni- not be in continuity with this ecumenical
cal group of scholars and liturgists from spirit aroused by Vatican II.
around the English-speaking world were Musically, some of our most beloved
gathering to create a common contempo- Mass settings by Richard Proulx, Marty
rary translation of the responses, canticles, Haugen, David Hurd, and others are also
and litanies shared by the various churches found in official hymnals of the Episcopal
and ecclesiastical communities for use at Church and the Evangelical Lutheran
the Eucharist and the liturgy of the hours. Church in Americaanother loss, once
The dynamically equivalent translations the texts of our service music no longer
were explained in the booklet Prayers We match other ecumenically-minded com-
Have in CommonSecond Revised Edition munities.
(Philadelphia, Pennsylvania: Fortress When our revised translations are
Press, 1975), published on behalf of this promulgated, we will need new musical
group who came to be known as the In- settings for the Mass in English. I propose
ternational Consultation on English Texts that we look to adapt and adopt some of the
(ICET). musical settings for the Episcopal Churchs
This ecumenical group is distinct from Rite One liturgies and older Lutheran
ICEL (International Commission on Eng- Holy Communion/Divine Services (which
lish in the Liturgy), who were entrusted follow a more literal translation of the
with translating the Roman Missal. ICEL Latin, though often in old English). If our
incorporated the ICET translations into the texts are unable to be ecumenical, perhaps
Roman Catholic liturgical books used over our music can be.
the past generation. These translations, or There were also a number of congre-
the more recent translations issued in 1988, gational masses published in the 1960s
have been incorporated into the official editions of Our Parish Prays and Sings, The
liturgies of Anglican, Lutheran, Methodist, Peoples Mass Book, FEL hymnals, etc. What
and Presbyterian denominationsamong were the most successful musical settings
New!
from NPM Publications
blessings for musicians
Blessings, prayers, meditations, thanksgivings, and
litanies to enrich the official rituals for blessing mu-
sicians and instruments in the Book of Blessings. The
book includes proposed texts and music for use at
Mass, at evening prayer, and at other occasions when
musicians gather to pray together and to recommit
themselves to service.
44 pages, paperback. $5.00
Order today from NPM Publications
962 Wayne Avenue, Suite 210, Silver Spring, MD 20910-4461
Phone: (240) 247-3000
E-mail: npmpub@npm.org
Web: www.npm.org

7/16/2007 10:21:24 AM
 for the worshiping assembly of that time?
Would any of these compositions serve
Gods people today? Initially, some of these
Masses may be edited and republished
for a new generation of worship. Todays
composers then need not rush to compose
new service music for the Mass without
first testing it in their own parishes.
A friend of mine was considering
teaching his assembly a new setting of
the Glory to God in a few months. As
the exact text of a future translation is
uncertain, a sure text and musical setting
useful for years to come would be from
Jubilate Deo, the Latin chant Mass setting
introduced by Pope Paul VI for Holy Year
1975. This is the musical Latin Mass setting
found in many of todays hymnals and is
often used at St. Peters Basilica in Rome.
Jubilate Deo was designed to be the source
of an international musical setting of the
Mass and a common repertoire of ancient
hymns in Latin for use by all Catholics
after Vatican II.
Finally, we must be ready to offer pas-
toral help to worshiping assemblies during
the time of translation transition. New
musical settings along with new texts will
be a lot to embrace all at once. A long range
plan must be developed which identifies
how . . . new music [and liturgical texts]
will be learned (see Liturgical Music Today,
70).
Let us attempt to learn from the ex-
periences of our Episcopal and Lutheran
friends when they began implementing
the new translations of the 1970s. Let us
remember how some of our own people
felt a jarring shift from the Tridentine Rites
Latin to English (1966 translation) to the
New Order of Mass (1969). What can
we learn from Christians past pain over
liturgical renewal? How can we avoid
repeating the mistakes of past translation
transitions?
May our ministry and the music itself
heighten the [new] texts so that they
speak more fully and more effectively.
[May our music] unveil a dimension of
meaning and feeling, a communication
of ideas and intuitions which words alone
cannot yield (see Music in Catholic Wor-
ship, 23, 24).
Robert Zappulla
Brooklyn, New York
Responses Welcome
We welcome your response, but all corre-
spondence is subject to editing for length. Ad-
dress your correspondence to Editor, Pastoral
Music, at one of the following addresses. By
postal service: 962 Wayne Avenue, Suite 210,
Silver Spring, MD 20910-4461. By fax: (240)
247-3001. By e-mail: npmedit@npm.org.

Help NPM step forward

through planned giving
Careful planning and good organization will help you accom-
plish your goals for the future. Planned gifts create opportunities
both for NPM and for yourself through your estate and financial
plans.

Planned gifts can yield benefits like these:

an ability to make a significant gift to NPM in line with

your hopes for the Church;
an opportunity to provide for your future needs through an
annuity or charitable lead trust;
a reduction in your tax liability.

Many Opportunities
Planned gifts may be made in several ways:

as a bequest in a will;
by naming NPM as a beneficiary of a life insurance policy;
by naming NPM as a beneficiary in a retirment plan;
by establishing a trust that benefits you as well as NPM; For further information on ways to support NPM
by making a donation of stocks, bonds, mutual funds, through planned giving, contact:
royalties, and other assets.
Dr. J. Michael McMahon
Determining what gift is right for you is just as important as NPM National Office
making the gift. There is a myriad of options from which to 962 Wayne Avenue, Suite 210
choose, but the best plan will balance what you wish to accom- Silver Spring, MD 20910-4461
plish for yourself, your family, and NPM in your overall estate
and financial plans. Phone: (240) 247-3000

 August-September 2007 Pastoral Music

30852_AS 07 Front.indd 6 7/16/2007 10:21:29 AM

 Association News
Convention Update
All but the Shouting
The Thirtieth Annual Convention of
the National Association of Pastoral Mu-
sicians is over. More than 3,000 people
participated in this gathering as attendees,
choir members, presenters, local com-
mittee members, and support staff. Of
those, about 100 were youth participants
(twenty-one or younger). Watch for a
report on the convention, the printed ver-
sion of several plenum presentations, and
pictures in the October-November issue
of Pastoral Music.
Institutes 2007
Fall Retreat
Dies Domini: Sabbath Making for Li-
turgical Musicians is the theme of NPMs
fall retreat for directors of music ministry.
Sponsored by the DMMD Board of Direc-
tors, this retreat is for all parish directors
of music ministriesfull-time, part-time,
or volunteer. DMMD members and non-
members are welcome to register.
The setting for this retreat is the Si-
ena Center in Racine, Wisconsin, on the
shore of Lake Michigan five miles north
of downtown Racine, just twenty-five
minutes drive south of Milwaukee and
forty-five minutes north of Chicago.
The retreat directors are Bishop Robert
F. Morneau, an auxil-
iary bishop of the Dio-
cese of Green Bay and
an avid poet and au-
thor; and Father Paul
H. Colloton, op, NPMs
director of continuing
education. Mr. Daniel
Girardot, the director
Bishop Morneau of liturgy and music
at St. Theresa Church
in Austin, Texas, will serve as facilitator.
For additional information and a reg-
istration form, go to the NPM website:
www.npm.org. Or phone the National
Office: (240) 247-3000.
Pastoral Music August-September 2007
30852_AS 07 Front.indd 7
Models of the Eucharist
NPM is offering its well-received one-
day seminar, Models of the Eucharist
at the Aquinas Institute of Theology
in St. Louis, Missouri,
on September 17. This
seminar is presented
by Monsignor Kevin W.
Irwin, STD, dean of the
School of Theology and
Religious Studies at The
Msgr. Irwin Catholic University of
America, and it is facili-
ated by Dr. J. Michael McMahon.
This professional development semi-
nar, based on Msgr. Irwins book, Models
of the Eucharist, is for clergy, pastoral
musicians, catechetical leaders, youth
ministers, leaders of worship, and all
pastoral ministers. It offers participants
the opportunity to deepen their own
understanding of the Eucharist, discover
ways of enriching Eucharistic celebrations,
evaluating musical repertoire for the Eu-
charist, and examining fresh approaches
to catechesis on the Eucharist.
For additional information and a reg-
istration form, go to the NPM website:
www.npm.org. Or phone the National
Office: (240) 247-3000.
Hundreds Served
As we go to press, more than 200 people
have participated in the 2007 NPM Sum-
mer Institutes. The largest Institute was the
Guitar and Ensemble Institute in Erlanger,
Kentucky, with about 50 participants. Our
Cantor Express programsoffered at five
separate locationsdrew more than 120
participants.
Members Update
From Greg to Patrick
From time to time in past months, NPM
members who contacted the National
Office found themselves talking to Greg
Pfundstein. Greg is a doctoral student in
philosophy at The Catholic University of
America, and he has been helping part-
time in the NPM Membership Office. This
summer, Greg went to California to attend
to some family business, and he has been
replaced by Patrick Bissexalso a doctoral
student in philosophy at Catholic Univer-
sity. We are grateful for the dedicated help
that they have provided, and we wish them
both well as they continue their studies.
Music Educator of the Year
The Board of Directors for the NPM Mu-
sic Education Divison (NPM-MusEd) has
selected Barbara Varian Barrett as the 2007
Catholic Music Educator of the Year. Ms.
Barrett has been teach-
ing in the Archdiocese
of San Francisco for the
past twenty-seven years.
She is in her twenty-first
year of teaching music
full-time to more than
six hundred students,
Kindergarten through
eighth grade, at St. Matthew School in
San Mateo in Northern California. Ms.
Barrett received her bachelor of music
degree from California State University,
Fullerton, and a master of arts degree in
music education from California State
University, San Francisco, where she also
earned two teaching credentials.
Barbara is a charter member of the
Music Education Division. She served
as the California State Representative for
several years before coming on the Board
as the Western Regional Coordinator. As
President, she helped author and super-
vise the divisions current publication,
Catholic Connections to Music in the Na-
tional Standards for Arts Education, meant
to provide an inclusive resource for those
involved with music education at all ages
in Catholic churches and schools in the
United States.
Beyond her school responsibilities,
Barbara has served as a liaison to the
Archdiocese of San Francisco Department
of Catholic Schools for almost thirty years.
Through the years, she has contributed
her time and expertise to developing
and updating their music guidelines (K-

7/16/2007 10:21:31 AM
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 August-September 2007 Pastoral Music

30852_AS 07 Front.indd 8 7/16/2007 10:21:33 AM

 8). She is the founder of the annual San
Francisco Archdiocesan Choral, and she
coordinated the event for the first twelve
of its twenty-year career. Barbara currently
serves on the Development Committee of
the Gordon Institute of Music Learning.
Over the years Ms. Barrett has pre-
sented workshops focusing on music
curriculum in parochial settings for the
Archdiocese of San Francisco as well as for
state, regional, and national conferences
including the National Catholic Educators
Association, MENC: Music Association
for Music Education, California Music
Education Association, and the National
Association of Pastoral Musicians.
With several other honorees, Barbara
received her award at the NPM National
Convention in Indianapolis.
New BCL Secretariat Director
Monsignor Anthony Sherman, who
has been serving as the associate director
of the Secretariat for
the USCCB Commit-
tee on the Liturgy,
has been chosen to
succeed Monsignor
James P. Moroney
when he ends his
term after the No-
vember 2007 meet-
ing of the Bishops
Conference. Msgr. Moroney has served
as the Secretariats director since 1996.
Keep in Mind
Donival Brown, music director at
Our Lady of Sorrows-St. Anthony Catho-
lic Parish in
Mercerville,
New Jersey,
died on June
5 after a long
battle with
cancer. In ad-
dition to his
parish music ministry, Donival accompa-
nied many choral groups in the area and
served as cantor, accompanist, or choir
director for many diocesan functions. He
served the local NPM Chapter in Trenton
as presenter, board member, cantor, and
accompanist. Mr. Browns family returned
his body to Georgia for burial, but the New
Jersey community celebrated a memorial
Mass at Our Lady of Sorrows Church on
June 21.
We pray: Lord God, you are the glory
of believers and the life of the just. Give
Pastoral Music August-September 2007
30852_AS 07 Front.indd 9
Where Are They Now?
John Paul Cappa
NPM Scholarship Recipient 1998, 1999
GIA Scholarship Recipient 2000
Since receiving my scholarships from
GIA and NPM, I finished my DMA in
organ from West Virginia University. At
that time plans were already underway
to take the Mother of Sorrows Parish
Choir on a Peters Way Tour of Italy
(Stressa, Lago Maggiore, Milano, Firenzi,
Assisi, and Roma) that would culminate
in a Mass at St. Peter Basilica, singing at
a papal audience with Pope John Paul II
(the Great), and a concert at St. Ignatius.
A parish Bon Voyage concert helped to
raise funds to assist three choir members
to afford the trip, and the whole choir
prepared some beautiful repertoire
including Palestrinas Sicut Cervus
and Viadonas Exultate Justi as well
as sacred music by American women
composers. During its performance, the
choir changed positions, singing several
selections from different places around
the large audience.
After I returned from the tour, I
moved to Our Lady of Grace Church in
Pittsburgh, Pennsylvania, where I estab-
lished a cantor program (eleven cantors),
a large childrens choir (sixty great sing-
ers, which surprised me), and a childrens
orchestra of strings and woodwinds
(twenty-seven excellent players, which
surprised me even more). The already
established parish choir, contemporary
choir, and funeral choir were fainting a
bit, mostly through attrition, but they
have been quite successfully rejuvenated
with interesting solid choral repertoire.
A schola (five voices) was created from
the best parish musicians and sings a
cappella from the great treasury of Catho-
lic choral repertoire including modern
and postmodern works. I convinced
the pastor to permit the Pittsburgh
Civic Orchestra to rehearse in our par-
ish hall rent-free, which gained for us
access to a semi-professional seventy-
piece orchestra for concerts and litur-
gies! Jacqueline Free, a superb pianist
from Murrysville, Pennsylvania, has
performed Beethovens Piano Concerto
5 (Emperor), Bachs Brandenburg 5, and
several Bach keyboard concertos in the
parish concert series with the Pittsburgh
Civic Orchestra. She also performed the
Ravel Piano Trio in A minor with two
members of the Pittsburgh Symphony
Orchestra!
In the seven years I have been at Our
Lady of Grace, we have performed all
six of the Bach Brandenburg Concerti
at Mass (the first movement as a pre-
lude, the second at Communion, and
the third as a postlude), Handels Mes-
siah, Vivaldis Gloria, Mozarts Regina
Caeli, and more. We also instituted a
summer music series featuring thirty-
minute music presentations after the
last Sunday liturgy (lectures, organ,
piano recitals, schola, etc.); a quarterly
music newsletter that discussed the ac-
complishments and goals of the music
program (including some cute things
like recipes from choir members, a fa-
vorite hymn coupon, and testimonials
from the childrens choir about their
trip to sing at St. Paul Cathedral), and
a Music Corner bulletin series that
briefly discussed hymnology.
Since the arrival of the new pastor,
however, many of these programs are
defunct due to budget constraints. And,
recently, the position of director of music
has been eliminated as a money-saving
move. The parish now uses volunteer
organists. Is anyone looking for a gently-
used organist and choir director? I know
gasoline is expensive, but I get excellent
mileage. I extend my sincerest gratitude
to NPM and GIA for making possible
this moment musicale in my life.

7/16/2007 10:21:35 AM
 our brother the joys and blessings of the
life to come.
Meetings and Reports
Conference of Roman Catholic
Cathedral Musicians
The twenty-fourth gathering of the
Conference of Roman Catholic Cathe-
dral Musicians (CRCCM; www.crccm.
net) took place January 811, 2007, at the
Cathedral of Saint John the Evangelist in
Milwaukee. Anthony DiCello, CRCCM
chairperson, reports that there were two
major presentations: True, Good, and
Beautiful: Shaping our Culture and the
Role of the Cathedral Church by Father
Jordan Kelly, op, and The Musician in
the Church: Reflections on Vocation and
Formation in the Christian Community
and in the Catholic Church by Dr. Leo
Nestor. Dr. Lynn Trapp gave a session on
newer organ repertoire, and Monsignor
James Moroney reported on the recent
Directory on Music and the Liturgy, on the
consultation conducted by the Music Sub-
committee on revisions of Music in Catholic
Worship and Liturgical Music Today, and on
the progress of the translation of the Ro-
man Missal into English. Sister Mary Jane
Wagner, osf, and the Milwaukee Choral
Artists, conducted by Dr. Sharon Hansen
with Jeffrey Peterson, organist, offered
two performances that paid tribute to
the musical contributions of Milwaukees
School Sisters of St. Francis, especially
those of Sister Theophane Hytrek, osf.
The main focus of the business sessions
was the development of the following
statement on the formation of liturgical
musicians, directed to the USCCB Secre-
tariat for the Liturgy:
The formation of professional liturgi-
cal musicians is of major importance to
the life of the Church. The Conference
of Roman Catholic Cathedral Musicians
(CRCCM) strongly urges the United
States Conference of Catholic Bishops
through its Bishops Committee on the
Liturgy to consider this issue thought-
fully in any future documents regarding
liturgical music. CRCCM supports cur-
rent efforts to set professional standards
for Catholic liturgical musicians. These
will help raise the standard of profes- Cathedral of St. John the Evangelist,
sional lay ecclesial leadership in the Milwaukee.
church among those charged with direct-
ing our Catholic musical and liturgical
life.
Additional efforts are needed to train

The Basics: Know the Documents men and women for the ministry of
music. Colleges and universities offering
courses of studies in liturgical music, as
General Instruction of the Roman Missal well as a growing number of regional
The official English translation with adaptations for the and diocesan centers for the formation
U.S.A. of liturgical ministers, are encouraged to
initiate or to continue programs which
Item #LD-4 Single copy $12.95 develop musical skills and impart a
Bulk discounts available thorough understanding of the liturgy
of the Church (Liturgical Music Today,
Introduction to the Order of Mass #65).
A pastoral resource from the Bishops Committee on the It is recommended also that higher
Liturgy. institutes of sacred music be established
Item #LD-5 Single copy $9.95 whenever possible (Constitution on the
Sacred Liturgy, #115).
Bulk discounts available
Those called to the vocation of litur-
gical music director must first acquire
Ministries in Sung Worship:
foundational musical skills. CRCCM
A Documentary and Pastoral Resource strongly urges the further develop-
Documentation from official instructions and ritual books and ment of undergraduate and graduate
pastoral applications for each musical ministry. academic degree programs that teach
J. Michael McMahon and Gordon E. Truitt the specific skills required, including the
study of organ, vocal training, and con-
Item #LFR-5 Single copy $15.00
ducting. Collegiate study culminating
in academic degrees provides evidence
Singing Our Worship
that an individual has acquired these
A pastoral musicians guide to the General Instruction 2000 necessary foundational skills. Formal
with American adaptations. musical study should be coupled with
J. Michael McMahon liturgical formation and practical experi-
Item #LFR-3 Single copy $4.00 ence. So formed, the individual will be
well prepared to enter the profession
Bulk discounts available
upon completion of study.
The National Association of Pastoral
Order today from NPM Phone: (240) 247-3000 Musicians (NPM) offers certification
Web (secure site): https://www.npm.org/publications/ programs for organists and directors
of music ministry. The American Guild
10 August-September 2007 Pastoral Music

30852_AS 07 Front.indd 10 7/16/2007 10:21:45 AM

 of Organists (AGO) offers an extensive
certification program for both organists
and choir directors. Some levels of certi-
fication are dual awards from the AGO
and NPM. The certification process can
be a useful way to acquire or improve
necessary skills.
CRCCM supports the efforts being
made in developing standards for li-
turgical musicians by the United States
Conference of Catholic Bishops. The
National Certification Standards for Lay
Ecclesial Ministry, published jointly
by the National Association for Lay
Ministry, the National Conference of
Catechetical Leadership, the National
Federation of Youth Ministry, and the
National Association of Pastoral Musi-
cians, includes standards for Directors
of Music Ministry.
The well-trained liturgical musician
will have many years of musical training,
typically extending from childhood to
four or more years of college and post-
graduate study. In addition years are
spent in specialized formation in liturgy
received through formal education,
workshops, seminars or study. Those
individuals who meet the qualifications
described above should be compensated
justly.
The twenty-fifth CRCCM conference
will be held January 711, 2008, in New
York City, where participants will visit St.
Patrick Cathedral, New York; St. James
Cathedral, Brooklyn; St. Agnes Cathe-
dral, Rockville Centre; and Sacred Heart
Cathedral, Newark.
Diocesan Liturgical
Commissions to Meet
The 2007 National Meeting of Diocesan
Liturgical Commissions will convene in
Windsor Locks, Connecticut, October
912. The meeting, co-sponsored by the
USCCB Committee on the Liturgy and
the Federation of Diocesan Liturgical
Commissions (FDLC), is being hosted by
the Archdiocese of Hartford and Region I
of the twelve regions into which the bish-
ops have divided the United States. The
focus of this years meeting is Liturgy:
The Privileged Place of Catechesis. A
liturgistFather Paul Turnerand a cat-
echistDr. Carole Eiperswill address
the topic in plenum sessions. The event
also includes celebrations of the Eucharist
and of morning prayer, business sessions,
regional caucuses, a conversation with the
BCL, exhibits, and the annual banquet.
Sister Sandra DeMasi, ssj, will keynote
the Local Liturgy Day that follows the
National Meeting.
For additional details, contact the
Pastoral Music August-September 2007
30852_AS 07 Front.indd 11
Federation of Diocesan Liturgical Com-
missions, 415 Michigan Avenue, NE, Suite
70, Washington, DC 20017. Phone: (202)
635-6990; e-mail: NationalOffice@FDLC.
org; web: http://www.fdlc.org.
McManus Award to Taft
The FDLC Board of Directors has
chosen the Rt. Rev. Archimandrite Rob-
ert F. Taft, sj, as the eleventh recipient of
the Msgr. Frederick R. McManus Award.
This award will be presented during the
banquet on October 12 at the National
Meeting of Diocesan Liturgical Commis-
sions in Windsor Locks, Connecticut.
A native of Providence, Rhode Island,
Robert Taft was ordained to the presbyter-
ate in the Byzantine Sla-
vonic (Russian) Catholic
Church in 1963. After
completing his masters
degree in philosophy, he
served as a missionary
for three years, teaching
at Baghdad College in
Iraq. After completing
his doctorate in Eastern
Christian Studies at the
Pontifical Oriental Institute, he became a
member of its faculty.
Now known as the pre-eminent Catho-
lic expert in Byzantine liturgy, Father Taft
was a professor of oriental liturgy at the
Pontifical Oriental Institute in Rome from
1970 to 2002. He was the editor-in-chief
of Orientalia Christiana Periodica and is
NEW!
Whether you are responsible for
evaluating sung texts for your
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these insights! Throughout, the focus
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017285 $5.00
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presently the director of publications at
the Institute. Father Taft has also served
as a visiting professor at the University
of Notre Dame since 1974, and he was
the director of the graduate program in
liturgical studies at the University from
1977 to 1979. In addition to serving as a
board member and consultant to several
academic and ecclesiastical bodies, he is
a founding member of both the North
American Academy of Liturgy and the
Association of Jesuit Liturgists. He was a
member of the governing council of the
international Societas Liturgica from 1979
to 1989, and he served as the societys
president from 1985 to 1987.
EnVision Church
The Georgetown Center for Liturgy is
preparing to launch a new online service
called EnVision Churchwww.envi-
sionchurch.org. The goal is to examine
all aspects of the liturgical setting for
anyone interested in the development of
ecclesiastical art, design, and architecture.
The site will contain reports on the latest
in church design, environment, and art
and offer practical information and advice
about establishing a building committee
and putting projects out to bid. Some
content will be available for free, but full
use of the service requires subscription to
the service. Information about the start of
this new program is available via e-mail.
Additional information is at http://center
forliturgy.georgetown.edu.
11
7/16/2007 10:21:46 AM
 Virginia Tech: Music Ministry
and a Monday in April
By Bryan Schamus
V
irginia Techs Newman Community
is Techs Catholic campus ministry.
We have three Masses every Sunday
in the War Memorial Chapel in the middle
of campus. Each Sunday we see from 500
to 800 students and Blacksburg residents at
Mass. (On Easter Sunday this year, we saw
1,400.) A few blocks away from campus
is our Newman House, where we have
a 30-seat chapel, offices, kitchen, game
room, and meeting spaces. Apart from the
priest campus minister and a lay campus
minister, the entire community is student
run. Im a Hokie (the name comes from
a cheer first used in 1896) and the music
minister for the Newman Community,
and this is the Newman musicians story
of the tragic event that unfolded on our
campus on April 16.
An Ordinary Sunday
Sunday, April 15, was the Second
Sunday of Easter (Divine Mercy Sunday),
but it seemed like an ordinary day. All
the hard liturgical work that had gone
into the celebration of Holy Week and
the Easter Triduum seemed long finished,
though Easter had only been the previous
Sunday.
At the end of the day on the 15th, there
were only three more Sundays to go, and
then it would be summer break. After
the 8:00 pm Massour third Mass that
dayI got in my car with my girlfriend,
Katie, and drove her back to her building.
We bantered back and forth on the short
ride about who annoyed us the most at
church, who made a weird face, and who
had the biggest attitude problem. We said
goodnight and made plans to meet at the
Hokie Grill for lunch the next day at 1:00
pm. (I usually get a bagel with chicken salad
Bryan Schamus, a member of the Class
of 2008 at Virginia Tech (Virginia Poly-
technic Institute and State University) in
Blacksburg, Virginia, is a music minister at
the Newman Community at Virginia Tech.
12
30852_AS 07 Front.indd 12
and she usually gets the Chik-fil-a
sandwich.) She got out of the car,
and I drove home.
April 16, 2007
During that spring semester,
my Monday mornings were usu-
ally low key. I would wake up
around 10:00 amsomething I
think you can only do in college.
The first place I had to be was at
my voice lesson at 12:20. Survey of
Music would follow at 2:30, then
advanced reporting at 4:00. And
then my university choir rehearsal
at 5:30. Our Newman Community
council meeting was scheduled
for 7:10 pm, at which the student
leaders of the community would
meet and discuss current happen-
ings. Besides maybe talking about
the end of the year cookout and
volleyball game, we expected the
meeting on the 16th to be short.
I was looking forward to getting
home in time to catch Deal or No
Deal on NBC. West Ambler Johnston Dormitory was the site of the
At 8:54 am on April 16, I was first shootings at Virginia Tech on April 16.
awakened by a text message sent
by my friend Damian, who works
in the Athletic Department. All it said was: not to come to campus.
shooting in aj. (AJ is campus shorthand At 10:52, the university wrote: In
for the West Ambler Johnston dorm.) My addition to an earlier shooting today in
first thought was that this is not the dorm West Ambler Johnston, there has been a
that my sister is in, and my second thought multiple shooting with multiple victims
was: Wow, thats sad, that usually doesnt in Norris Hall. Police and EMS are on
happen around here. the scene. Police have one shooter in
At 9:26, the university confirmed the custody, and, as part of routine police
shooting and urged students to report any procedure, they continue to search for a
suspicious activity. second shooter. All people in university
At 9:50, we received the following e- buildings are required to stay inside until
mail: A gunman is loose on campus. Stay further notice. All entrances to campus are
in buildings until further notice. Stay away closed.
from all windows. At 12:30 pm, with a look of horror on
At 10:16, we received an update: Vir- his face, Police Chief Wendell Flinchum
ginia Tech has canceled all classes. Those reported that twenty-two people had been
on campus are asked to remain where they killed and twenty-eight were injured.
are, lock their doors, and stay away from Later, news came that thirty-three Hok-
windows. Persons off campus are asked ies had been killed and twenty-five were
August-September 2007 Pastoral Music
7/16/2007 10:21:51 AM
 Members of the music ministry for the Newman Community at Virginia Tech sing during Holy Week 2007.
injured.
These were students and professors.
They woke up, got dressed, and went to
class that morningthe same thing I do
every morning at school.
Our Mass(es) of Healing
By 2:00 pm on that Monday afternoon,
the Newman Council met at the New-
man House. Our cruise control ride to
summer had suddenly turned into God
calling us to action. Within ten minutes of
meeting, we decided that we would hold a
Mass that night in the largest room of the
Newman House, called the Great Room.
We would call it a Mass of Healing. As
weird as this may sound, it had never been
so easy for me to pick music for a Mass. I
just knew what we needed.
The opening song was David Haass
Jesus, Heal Us with the very simple
refrain: Jesus, heal us; Jesus./Jesus, hear
us, now. This song went from being #846
in Gather Comprehensive to our thoughts,
our prayer, our cry to Jesus. It had become
us.
We also sang Psalm 46: Be Still by
David Kauffman and Bill Gockelman.
This had become a familiar tune around
the community during Lent because we
Pastoral Music August-September 2007
30852_AS 07 Front.indd 13
Within ten minutes of meeting,
we decided that we would
hold a Mass that night in the
largest room of the Newman
House, called the Great Room.
We would call it a Mass of
Healing.
had used it as a prelude before every Mass.
This again was our prayer.
The preparation song was Bob Duf-
fords Be Not Afraid. The line that will
stick with me forever is in verse three:
Blessed are you that weep and mourn,
for one day you shall laugh. As I played
and sang this line, my hands became
heavy on the keys, and tears started to
drip on the keyboard. How many times
had I sung that line and never thought
twice about it. And now it was me, and it
was our Newman Community, and it was
Virginia Tech. At that point, it seemed as
if none of us would ever laugh again.
Evening Masses for healing continued
throughout the week. The Communion
song alternated each night between the
Prayer of Saint Francis and Haass God
Is Love. Our post-communion song every
night was Dona Nobis Pacemour cry
for peace. We used Marty Haugens Mass
of Creation. Now, I know what some of
you are thinking: Is that the only setting
anyone knows? But the point is, in this
time of trouble and tragedy, it was the
familiar that brought comfort. When the
piano sounded with chords Gm, E flat,
and D, everyone knew what to do.
By the end of the week, we changed
the opening song to Dan Schuttes City
of God because by then we were ready
for these words: Awake from your slum-
ber, arise from your sleep./A new day is
dawning for all those who weep.
Every night, though, we ended Mass
with Haass You Are Mine. Verse four
was the spot every night at which the
emotion would flow out and tears would
make my keyboard slippery and cause
a few wrong notes. I am the Word that
leads all to freedom,/I am the peace the
world cannot give./I will call your name,
embracing all your pain,/stand up, now
walk, and live! Embracing all your pain.
Stand up, now walk and live: When
David wrote those words in 1991, there
was no way that he would know how
important they would be to a campus in
Virginia in April 2007.
13
7/16/2007 10:21:53 AM
 Healing Outreach
The new community Masses during
that week brought hope to our community
in a time of trouble. But they were not the
only way that we found healing. Another
part of our healing came through the
tremendous outreach from people near
and far beyond our campus community.
Parishioners at St. Mary Catholic Church,
which is only 1.5 miles from the Newman
House, rallied together to bring lunch and
dinner to Newman each day and night.
Banners, cards, and gifts came flooding
in through the mail everyday. I recall one
day on which the FedEx man came three
different times! Debbie, a grief counselor
in the area who attends Newman Masses,
spent the week at Newman answering
phones and talking with students and
parents. Priests came from all over the
Commonwealth of Virginia as well as
from surrounding states. They came to
talk; they came to hug. Some simply sat
and played Mad Libs with the students.
We were also blessed with the presence
of Karen, the campus minister at Radford
University, which is just down the road.
Her leadership, kindness, and laughter
brought hope and joy to many.
On the Sunday following the shooting,
Bishop DiLorenzothe Catholic bishop of
Richmondcame with some of his staff
to visit. He came to both our 10:00 am and
noon Masses, and he preached the hom-
ily at the noon Mass. At the end of each
liturgy, he put on a Virginia Tech cap to
show his support. He then came back and
had breakfast with the community at the
Newman House.
Matt La Porte
On April 25, I joined twelve of the New-
man musicians to provide music at the
funeral at St. Marys Church for Matthew
La Porte, a Catholic student at Tech who
had been killed in Norris Hall on April
16. The following reflection is part of my
contribution to a project being put together
by my classmates and one of my profes-
sors and good friend, Roland Lazenby. It
will be a book tentatively titled April 16th:
Virginia Tech Remembers that is due to be
published in August of this year.
This whole thing hit home when the
casket was rested in front of the altar.
Im Catholic.
Im a singer.
Im a music minister.
Ive had the experience of singing at a
funeral in a cathedral.
14
30852_AS 07 Front.indd 14
But never have I felt what I did on
April 25th, 2007, in St. Marys Catholic
Church in Blacksburg, Virginia. This
was Matthew La Portes funeral Mass
and burial.
I was okay that morning.
Gathering my musicians together.
Making sure everyone had a ride to the
church. Making sure our hymnals made
it over there. Everything was okay.
Once we were there I had to make sure
everyone had a seat. We rehearsed with
the choir from St. Marys. My musicians
had a laugh over the music director from
the church, who was yelling at her sing-
ers to do a better a job. We were loose,
somewhat relaxed and ready to go.
Then we stood up and sang Be Not
Afraida song by the St. Louis Jesuit
Bob Dufford. The refrain to the song
is:
Be not afraid. I go before you always.
Come, follow me, and I will give you
rest.
In verse three there is a line:
Blest are you that weep and mourn
for one day you shall laugh.
And as we finished the song, friends
of Matt La Portemembers of the
Corps of Cadets, the group he was part
ofcarried his casket to the altar and
rested it down.
I looked at the kids who carried it in.
I looked at Matts parents.
I looked at my friends around me.
And then I looked again the casket.
And really for one of the first times since
April 16th, I lost it.
He was a college kid, a Hokie, just like
me. And hehis bodywas in that cas-
ket. I couldnt make any sense of it.
It wasnt like he was sick or did some-
thing stupid. He just woke up, got
dressed, and went to class. I do that
everyday.
Sitting in the front pew were Matts
parents, brothers, sisters, aunts, uncles,
and his grandma and grandpa.
Grandparents should not have to attend
their grandchildrens funerals. That isnt
the natural process of life.
But they were all so strong. Especially
his parents. They were rocks that the
rest of the church leaned on. Weird how
that happened.
Ill never forget that day. And Ill never
forget Matt, even though I never really
knew him.
He had just started coming to events
at the Newman House, which is Techs
Catholic campus ministry. He probably
came to Mass on Sunday. He probably
listened to my choir sing. He probably
listened to me lead the congregation in
song. I never knew him.
A friend of mine at Newman, Ty Biagas,
told me that he had a long conversa-
tion with Matt earlier in the year at a
blood drive hosted by Newman. He
had expressed interest in helping at
the next one.
Little did Matt realize that the next New-
man Community blood drive would be
the day after his funeral.
Dear Lord,
May Matt rest in peace and may you
continue to stay and to keep watch
over Matts family and friends. May
Matts spirit continue to be apart of the
Hokie Nation. May we all be reminded
of just how fragile life is, and may we
all find the strength to live each day
to its fullest. We ask this through you,
Christ our Lord.
Amen.
One David
During the week following the shoot-
ing, I received a lot of compliments on and
comments about the music we used during
the liturgies. On Wednesday, April 18, I
received yet another compliment about
how nice the psalm had been at Mass, so
I decided that I had heard too much not
to let David Kauffman know what his
setting of Psalm 46 had meant to us. So I
sent him this note:
Dear David,
My name is Bryan Schamus, music
minister at Virginia Tech. Im sure youve
heard all about the events on our campus
in the last 48 hours, and I just wanted to
tell you how your music is helping. For
the past two nights weve had a Mass,
and weve sung your Psalm 46: Be Still
both times. Its just been incredible to
have it the past few days. Everyone is
humming it around campus. Please real-
ize the difference your music is making
in a really difficult time.
I really just wanted him to know. Never
once did I think something like this re-
sponse would follow:
I am sure that youve been working
August-September 2007 Pastoral Music
7/16/2007 10:21:54 AM
 Members of the music ministry sing farewell to a friend at Virginia Techs Newman House.
overtime these days bringing comfort to
so many who are working through the
pain. May God bless you and multiply
your rest as you endure this tragedy.
Bryan, please let us know what we can
do to help.
Can I send you some COJOs1 (no charge)
to pass out to students, teachers, admin-
istrators . . . whoever would benefit from
the music. The COJO entitled Love Letter
may be a way to help your community
heal as they go.
Im very serious about this. Please, please
let us know so we can get these in the
mail to you.
God bless you Bryan. I look forward to
hearing from you.
Peace...real peace...be with you,
David Kauffman
The next day we received 100 CDs, and
the following day I received a phone call
from David who offered, if we felt it was
appropriate, to come be with us and to help
us heal. Two weeks after the tragedy, on
April 30, David and his right-hand-man
Bill Gokelman presented Be Still: An
Evening of Healing at our War Memorial
Chapel.
God was with us, because at that
concert David presented a new song,
not yet released, entitled This Is What
Im Working Through. When he started
writing this song in January, of course,
David could never have thought that he
was writing the song in the heart of every
Pastoral Music August-September 2007
30852_AS 07 Front.indd 15
Virginia Tech student come April. But
thats what it was. I was overwhelmed
with the Holy Spirit during this song.
With only the words in front of them,
students in attendance started singing.
Its what naturally came out; its what we
were feeling. None of had ever heard it
before, because it had not yet made it out
of San Antonio, Texas. Yet it was as if we
had been singing it our whole life.
It was a night that I will never forget.
And so to David and to everyone at Good
for the Soul Music I am, or ratherand
I think I speak for everyone at Newman
when I saywe are forever thankful.
Another David
and a Future with Hope
As I was getting ready to attend Matt
La Portes funeral, I received a call on my
cell phone. I said hello, and then a voice
said: Hello, Bryan, this is David Haas
from St. Paul Minnesota. (I remember
wanting to say: As opposed to what other
David Haas? But I refrained.) Within a
few days Haas had plane tickets booked
for himself and for his friend and fellow
composer Lori True and had made plans
for Father Ray East from the Archdiocese
of Washington to drive to Blacksburg to
be with us as well.
On Monday, May 7, they offered a pre-
sentation in the War Memorial Chapela
prayer service followed by a concert full
of joy and hope. David and Lori came
with their big hearts and beautiful music,
And Father Ray came with his energetic
spirit and prayerful mind. We are forever
thankful to them.
David also came with a new song,
Future with Hope. The refrain, so simple
but meaningful, is a text from Jeremiah 29.
The words are:
I know the plans I have for you,
not for harm, but for your good;
to give you a future, a future with
hope.2
We are looking toward this future with
hope, but please continue to keep Newman
and Virginia Tech in your prayers as we
will keep you in ours. Among the countless
people that I want to thank, I give one big
Newman thank you particularly to NPM.
My first NPM convention was two years
ago in Milwaukee, and I discovered that
the joy and spirit at those conventions are
contagious. NPM gave me the drive to be
a good music minister, and for that I am
forever thankful.
Gods peace. Go Hokies!
Notes
1. [Editors Note.] COJO stands for
Companion on the Journeya series of spoken
and sung meditations from Good for the Soul
Music.
2. A Future with Hope, music and text by
David Haas (Jeremiah 29:10b14), music and
text 2007, GIA Publications, Inc. From the
recorded and published collection Living Spirit,
Holy Fire (GIA).
15
7/16/2007 10:21:56 AM
 Hymns and Liturgical Songs

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 Establishing Criteria for Liturgical
Songs: The Directory for Music and
Liturgy
By J. Michael McMahon
W
ords matterthey have the power to shape
lives and events. When President John F.
Kennedy stood before the recently con-
structed Berlin Wall in 1963 and proclaimed
(in German), I am a citizen of Berlin, his words made
a difference for the people of West Berlin and affected
the course of world events at the height of the Cold War.
When President Ronald Reagan stood at the same wall
twenty-four years later and uttered the challenge, Mr.
Gorbachev, tear down this wall! his words likewise
resounded throughout the world, hastened the collapse
of the Soviet bloc, and helped to speed the reunification
of Germany.
The words of the liturgy matterthey also have the
power to shape lives and events. When we open the
Scriptures to proclaim the words of the sacred texts, God
is speaking and acting in our midst. When the whole as-
sembly sings or prays together or when the priest speaks
words of prayer on behalf of the congregation, those words
have a profound impact.
The liturgy expresses the faith of the Church and in do-
ing so forms the faithful in it. This principle is sometimes
stated in its Latin form: Lex orandi, lex credendi. The norm of
the Churchs prayer determines the norm of its faith. The
lex orandi includes the words of the liturgical rites along
with all the actions and other elements of celebration.
As we join in singing, praying, listening, acting, keeping
silence, and all the other actions of the liturgy, the faith
of the Church comes to expression and shapes us in it.
Following from the principle lex orandi, lex credendi, the
Vatican issued an instruction on translation of liturgical
texts in 2001 entitled Liturgiam authenticam. This document
is rooted in a concern that the texts of the liturgy accurately
express the Catholic faith, and it prescribes principles that
will soon result in more literal translations of liturgical
texts than we have been accustomed to since 1970.
Norms for Liturgical Songs
Although most of Liturgiam authenticam is devoted to
Dr. J. Michael McMahon is president of NPM and serves
as an advisor to the USCCB Subcommittee for Music and the
Liturgy.
Pastoral Music August-September 2007
30852_AS 07 Main.indd 17
principles of translation, it also includes some norms on the
texts for singing that are rooted in a concern for doctrinal
fidelity. The document makes reference to the Vatican II
norm that the texts intended to be sung must always be
in conformity with Catholic doctrine; indeed they should
be drawn chiefly from holy Scripture and from liturgical
sources.1 Liturgiam authenticam requires each conference
of bishops to prepare within five years of the documents
publication a directory or repertory of texts intended for
liturgical singing.2 It also directs that the repertoire of
liturgical hymns should remain relatively fixed so that
confusion among the people may be avoided.3
The document begins by affirming the
importance of music in the liturgy and
praising the good work that has been done
in liturgical music since the Second Vatican
Council.
The Latin (Roman) Rite bishops of the United States
were the first conference in the world to address these
directives in Liturgiam authenticam. In November 2006
the U.S. bishops approved the Directory for Music and the
Liturgy for Use in the Dioceses of the United States of America,
in which they set forth norms and principles for evaluat-
ing liturgical songs. The directory was then submitted for
the recognitio, or approval, of the Vatican Congregation
for Divine Worship and the Discipline of the Sacraments.
As of July 1, the U.S. bishops were still waiting to hear
back from Rome.
The document begins by affirming the importance of
music in the liturgy and praising the good work that has
been done in liturgical music since the Second Vatican
Council. The major focus of the document, however, is
on criteria for evaluating liturgical texts from a doctrinal
perspective. In looking at individual songs, it directs that
they should be consonant with Catholic teaching and
free from doctrinal error.
Individual songs cannot, of course, express the full-
ness of the Christian mystery or even of any particular
aspect of it. The Directory therefore says that the entire
17
7/16/2007 10:32:36 AM
 repertoire of any given worshiping community should
be evaluated and that, taken as a whole, the songs of any
given community should reflect the full spectrum of the
Catholic faith. The document goes on to enumerate some
aspects of Catholic doctrine that should be expressed in
liturgical songs, including the Trinity, the centrality of
Christ in salvation, grace as Gods initiative, the centrality
of the paschal mystery, and the communal dimensions of
the faith.
Shared Responsibility
The responsibility for evaluating liturgical texts for
singing rests primarily with the diocesan bishops in
the places where those texts are published, and so the
theological norms found in the Directory are intended
primarily for the use of those bishops. The major impact
of the evaluation process will be felt in the places where
the largest publishers of worship aids are locatedthe
Archdioceses of Chicago and Portland and the Diocese
of St. Cloud. While the norms establish criteria, they do
not specify a process, which will presumably be left to
the individual bishop. It would seem, however, that if
the Directory receives the Vaticans recognitio, all hymnals
and periodical worship aids will require approval by the
diocesan bishops in the places of publication.
Sample Theological Concerns
These sample questions are taken from a PowerPoint
presentation on the Directory for Music and Liturgy
prepared by the USCCB Committee on the Liturgy, 2006,
Bishops Committee on the Liturgy. They indicate the kinds
of theological questionsboth positive and negativethat
all pastoral musicians should be asking as they examine the
texts of hymns and liturgical songs. The first two questions
offer expanded subjects for reflection. The final three questions
pose in a positive way the three additional sample areas for
questioning that the USCCB Subcommittee on Music and the
Liturgy poses in this PowerPoint presentation. In its presenta-
tion, the Subcommittee also offers two general principles for
a theological review of hymn texts: Individual songs should
be consonant with Catholic teaching and free from theological
error, and the repertoire of liturgical songs in any given
setting should not manifest a collective bias against Catholic
theological elements.
Is there sufficient attention to the Trinity and the
Trinitarian structure of Catholic beliefs and teach-
ings? Do our liturgical songs . . . present the Trinity
as the central mystery of the Christian faith? Does the
language used in refering to the Persons of the Trinity
contribute at times to a lack of clarity? Is there a reluc-
tance to use Father for the first person of the Blessed
Trinity? Is the relationship between Jesus and the Father
18
30852_AS 07 Main.indd 18
Though intended primarily for the use of bishops in ap-
proving the hymns and songs found in hymnals and other
worship aids, the norms of the Directory are clearly meant
to raise the awareness of pastors and pastoral musicians
regarding their own responsibility in choosing texts for
singing. The songs of worship are an integral part of the
liturgical action, express the faith of the Church, and have a
profound impact on the faith formation of the community.
Each text should therefore be consistent with Catholic
belief, and the repertoire of the community should give
voice to the breadth and depth of the Christian mystery
that the liturgy celebrates and makes present among us.
In addition to the norms that it establishes, the Directory
sets up a three-year process to formulate a core reper-
toire of liturgical songs to be included in all commercially
produced worship aids. In his remarks to the bishops at
their meeting in November 2006, Bishop Donald Trautman,
chair of the USCCB Committee on the Liturgy, estimated
that this core repertoire would probably consist of sixty to
one hundred songs. It is not intended as an exclusive list
of songs to be used at the liturgy but rather as a core set
of selections that would appear in any published hymnal,
service book, or periodical worship aid. At the present time
the bishops are not necessarily proposing to include in
that core collection songs in vernacular languages other
than English.
[emphasized] sufficiently? Are there times when the
word God is placed in a sentence where one would
expect to find Father or God the Father since the
reference is precisely to the relationship between the
first and second Persons of the Trinity?
Is there [a clear] presentation of the centrality of
Christ in salvation history and [a sufficient] empha-
sis on the divinity of Christ? Do our liturgical songs
present Jesus as the culmination of the Old Testament
and the fulfillment of Gods plan for our salvation? Is
the indispensable place of the incarnation in the plan
of salvation sufficiently presented? Is Jesus the Savior
often overshadowed by Jesus the teacher, model, friend,
and brother? Is there an appropriate balance? Is there an
imbalance in our emphasis on the humanity or divinty
of Jesus Christ? At times, can we detect a negative un-
dertone in speaking of the divine nature of Christ, as if
divinity is equated with being distant and unreal?
Is there a clear treatment of the ecclesial context of
Catholic beliefs and magisterial teachings?
Do the texts give sufficient emphasis to Gods initia-
tive in the world with a corresponding description of
human action?
Is there a sufficient recognition of the transforming
effects of grace?
August-September 2007 Pastoral Music
7/16/2007 10:32:37 AM
 The actual process for arriving at this collection of
hymns and songs is yet to be determined. It is also unclear
whether the core repertoire will include only songs that
are in the public domain or if copyrighted works will also
be included.
The Directorys provision for a core repertoire was a
response to the statement in Liturgiam authenticam that the
repertoire of liturgical songs should remain relatively
fixed.4 A close look at most of the worship aids currently
in use in the United States already shows that, while there
is a wide variety of musical resources available for the
liturgy, there is also a rather significant consensus already
on a core repertoire of liturgical songs. The U.S. bishops
seem to be striking a middle course that recognizes the
need to promote liturgical songs that are familiar and of
lasting value while at the same time allowing for diversity
and continuing creative contributions to the sung prayer
of American Catholics.
If and when the Vatican issues the recognitio of the Direc-
tory for Music and Liturgy, be sure to check the NPM web-
sitewww.npm.orgfor information and resources.

Notes

1. Vatican Council II, Constitution on the Sacred Liturgy

Sacrosanctum Concilium, 121; Congregation for Divine Worship
and the Discipline of the Sacraments, Fifth Instruction for the
Right Implementation of the Constitution on the Sacred Liturgy
of the Second Vatican Council Liturgiam authenticam, 61. This page of the Codex Alexandrinaa fifth century manuscript of the
2. Liturgiam authenticam, 108. New Testament prepared in Alexandria, Egyptcontains the Letter to the
3. Ibid. Philippians 1:29b2:30a and therefore the Kenosis Hymn quoted and
4. Ibid. probably adapted by St. Paul (2:611).

New Testament Hymns
We know that the New Testament contains some texts
that were probably sung as hymns by the first Christian
communities, but scholars are divided over exactly
which poetic texts are, in fact, hymns and which might
actually have been sung in worship.
Some people think that the canticles in the first two
chapters of Lukes Gospel are complete hymn texts,
though they may have been adapted by Luke to fit the
context in which he uses them. Its fairly clear that Paul
quotes familiar hymn texts in his lettersand some of
those may have been written in Aramaic and then trans-
lated into Greekthough he, too, adapts some of these
borrowed texts to make a particular point. The Letter to
the Hebrews and the Book of Revelation likewise include
texts that seem to be acclamations or snippets of hymns
that may have been used in Christian worship.
When they try to identify these hymn texts, scholars
use certain criteria: The passage contains vocabulary that
differs from the vocabulary of its contextwords that
are often exalted in ways typical of liturgical speech
and, often, that occur nowhere else in the New Testa-
ment; the text is written in poetic form, with rhythmi-
cal patterns and careful structure; the content seems
to interrupt the flow of thought in the surrounding
passage; the passage often expresses the cosmic role
of God or of Christ; the name of God (particularly in
Pauline writings) is often absent but is replaced by a
relative clause or participle, as if this passage were part
of a longer composition.
It is clear that early Christians composed many
of these texts and used them in worship before they
were incorporated into the documents that make up
the New Testament (indeed, their familiarity through
repetition is what encouraged the various writers to
quote them), but we do not know how they were used
in worship. They might have been used in what we
would recognize today as the liturgy of the Word or
the liturgy of the Eucharist, but since we dont know
much about the structure of worship in the earliest
Christian communities, we arent sure just how these
texts were incorporated into the liturgy.

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 We Need Contemporary, Humanly
Attractive Songs for the Liturgy
By Delores Dufner, osb
T
he goal of this article is to discuss the qualities
of a good liturgical song text and to examine
what makes a hymn text singable. But first we
need to consider a bigger issue: Is it even desirable
to include hymns in the Eucharistic liturgy, when they
displace the entrance and Communion song texts given
in the Roman Missal (Sacramentary)?
Pastoral Reasons for Hymns in the Liturgy
Vatican IIs Constitution on the Sacred Liturgy Sacro-
sanctum Concilium is a pastoral document concerned with
the accessibility of the liturgy. It reminds us that liturgy
is truly the work of the people and that full, conscious,
and active participation is our right and duty by reason of
our baptism: In the reform and promotion of the liturgy,
this full and active participation by all the people is the
aim to be considered before all else. For it is the primary
and indispensable source from which the faithful are to
derive the true Christian spirit . . . .1
In my forty-five years of experience as a church musi-
cian, I have witnessed the power of songs and hymns to
foster active participation. Although songs and hymns are
not essential to the action of the Eucharistic liturgy in the
same way that the acclamations and responses are, they
have a unique potential to engage people where they are
and draw them more deeply into the liturgical action.
If, at the very beginning of the liturgy, all are invited to
sing the entire gathering song, and if the song continues
after the presider and ministers are in place, members of
the assembly experience their role in the celebration as a
significant one. They realize that their song serves a greater
purpose than simply accompanying the entrance of the
presider and ministers. When a Sunday celebration begins
with the egalitarian form of a hymn which is known and
sung by the entire assembly, individual members more
readily experience their basic equality and unity in the
Risen Christ.
Sister Delores Dufner, osb, is a member of St. Benedict
Monastery in St. Joseph, Minnesota. She is the author of two
collections of hymn texts: Sing a New Church (OCP, 1994)
and The Glimmer of Glory in Song (GIA, 2004). On May
6, 2007, Eric Ewazens setting of her text Listen received this faith community? To what might God be calling
its premire performance by the a cappella male vocal en-
semble Cantus.
20
30852_AS 07 Main.indd 20
By contrast, the liturgical text of the entrance song found
in the Roman Missal is a hierarchical form, with psalm verses
sung by a cantor or choir while the rest of the assembly
sings only the antiphon. Because the liturgical entrance
song typically ends when the presider and ministers are
in place, responsibility for the rest of the liturgy appears
to rest primarily on those who walked in the procession.
They are then too easily seen as the principal players,
while the remaining members of the assembly too easily
experience themselves as spectators.
Since we want people to be engaged and not merely to
be spectators, the words we ask people to sing must be
understandable. Some liturgists believe that the singing
of the assigned entrance antiphon and the assigned Com-
munion antiphon with a psalm is preferable to hymnody
because these texts were chosen for their close relationship
to the season or feast. But pastoral experience leads me
to doubt that the average churchgoer is readily led into
prayer by the language and imagery of the psalms, which
reflect a biblical culture far removed from the culture of
our times. It seems to me that, if we want people to pray
the words they sing, we need to give them at least some
poetry more accessible than that taken directly from Scrip-
ture. They need the equivalent of the poetry of a Robert
Frost rather than the more esoteric poetry of a William
Shakespeare. If we are to be a truly catholic or universal
church, we must avoid an elitism which excludes those
who have not formally studied Scripture and theology.
When the new Roman Missal is approved for use in the
United States, the language of the liturgy will likely be
experienced as not less but more rarified than the English
translation currently in use. From a pastoral perspective,
we will then have an even greater need for liturgical
hymns and songs to interpret the prayers and readings
of the liturgy in good contemporary Englishelevated
language, yes, but authentically contemporary English
intelligible to the average Catholic.
The words people sing, even more than the words
they hear or speak, are influential in their Christian and
spiritual formation. A well-chosen liturgical hymn or
song is like a good homily. Ideally, it responds to the
assemblys unspoken questions: What does the Gospel
mean in terms of my life today and in terms of the life of
me/us in this liturgy? We need liturgical songs which
express the faith of the people in their own language and
August-September 2007 Pastoral Music
7/16/2007 10:32:40 AM
 with their own vocabulary.
We must also avoid the elitism that excludes those who
do not read music. Even if all the official texts were set to
musicand they are not currently so setthe introduc-
tion of new melodies each week would discourage their
whole-hearted rendition by non-musicians who sing
largely by rote. If we are committed to full participation,
we cannot ask the average assembly to learn new music
for the entrance and Communion songs each Sunday.
Although Psalms 96 and 98 begin with the invitation to
Sing a new song to the Lord, I believe that, for pastoral
reasons, it would be unwise to introduce new music each
week. Nevertheless, if our prayer is to be authentic, we
need new hymn texts, set to familiar and durable tunes.
We need accessible new songs alongside the old songs,
thus bringing ourselves and our world to the liturgy and
witnessing to the active presence of Gods creative Spirit
in our church today just as in the past.
Characteristics of Good Liturgical Song
and Hymn Texts
In addition to intelligible words and familiar melodies,
we need beauty in both words and music. We need hymns
that are humanly attractive, songs of poetic beauty that
show usrather than merely tell us abouta God who is
Beauty as well as Goodness and Truth.
Whereas most of us are aware of the need for beauty
in the music, we may not be equally aware of the need for
beauty in the words themselves. But Marshall McLuhan
was right when he told us, back in the 1960s, that the me-
dium itself conveys the message. The poetic character of
the words plays an indispensable part in conveying both
the meaning and the emotional content of hymn lyrics.
Beautiful poetry helps to make sung prayer both humanly
attractive and worthy of divine worship. A well-written
song text can bring people closer to God through their
Pastoral Music August-September 2007
30852_AS 07 Main.indd 21
experience of beautybeauty in the meaning of the words
and beauty in the character of the words themselves.
Theological principlesthe content and meaning of the
wordsare dealt with elsewhere in this issue of Pastoral
Music.2 In what follows, we will explore some aesthetic
principles which guide the writers choice of words in
creating new songs and hymns. Let us begin with the
sound of the words.
In a chapter titled On Musicality in Verse, literary
theorist and rhetorician Kenneth Burke describes two
kinds of alliteration: obvious and concealed.3 Most of us
are familiar with obvious alliteration, in which the same
consonant is repeated several times in close proximity.
But we may be unaware of concealed alliteration, which is
more subtle. Concealed alliteration makes use of phonetic
cognates, consonant sounds which are not identical but
are closely related by placement in the mouth, location
of the tongue, and formation of the lips.
For example, Burke says that the letters b and p are
phonetic cognates of the letter m. For all three consonants,
both lips are closed before the sound is released. With
m, they remain closed and the sound comes through the
opened nasal passage; for both b and p, the nasal passage
remains closed, but the closed lips open to produce the
sound.
The first and last verses of Timothy Dudley-Smiths
hymn, Behold a Broken World illustrate well the use
of consonants m, b, and p in both obvious and concealed
alliteration:
Behold a broken world, we pray,
where want and war increase,
and grant us, Lord, in this our day,
the ancient dream of peace. . . .
Bring, Lord, your better world to birth,
your kingdom, loves domain,
where peace with God, and peace on earth,
and peace eternal reign.4
Obvious alliteration occurs with the letter b in stanza one,
line one, and in the final stanza, line one. Concealed al-
literation occurs in stanza one, line one, with the letters b
and p and in the fourth line of stanza one with m and p.
Obvious alliteration can become tiresome if overdone,
like a musical motif played exactly the same way over
and over again. But concealed alliteration is like a musical
theme with variations; it has enough sameness to satisfy
our desire for unity and enough freshness to delight the
mouth and the ear.
Just as alliteration creates beautiful, unified sound
through the repetition of similar consonants, assonance
does so through the repetition of vowel sounds. In the
first stanza of Dudley-Smiths hymn above, for instance,
the long e sound occurs twice in the first line, once in the
second, and twice again in the fourth. Although singers
may be only vaguely aware of this aural unity, such unity
makes the text more pleasing to the ear, more humanly
attractive.
21
7/16/2007 10:32:44 AM
 Visual imagery appeals to the eye of the imagination
just as alliteration and assonance appeal to the ear. Ruth
Duck uses visual imagery in the first and last stanzas of
her hymn, As a Fire Is Meant for Burning:
As a fire is meant for burning with a bright and
warming flame,
so the church is meant for mission, giving glory to
Gods name.
Not to preach our creeds or customs, but to build a
bridge of care,
we join hands across the nations, finding neighbors
everywhere. . . .
As a green bud in the springtime is a sign of life
renewed,
so may we be signs of oneness mid earths peoples,
many hued.
As a rainbow lights the heavens when a storm is past
and gone,
may our lives reflect the radiance of Gods new and
glorious dawn.5
The first stanza of Ducks hymn uses the images of a fire,
a bridge, and joined hands to convey the mission of the
church. Both stanzas use simile, another poetic technique
which enriches our understanding by comparing a familiar
image with a less well-known entity: As a fire . . . so the
church, As a green bud . . . so may we, and As a rain-
bow . . . may our lives. . . . Ducks use of visual imagery,
combined with both obvious and concealed alliteration,
adds to the beauty of her hymn-poem.
Another poetic form of visual imagery is metaphor,
which compares one thing or person to another but without
the use of like or as:
Wind who makes all winds that blow
gusts that bend the saplings low,
gales that heave the sea in waves,
stirrings in the minds deep caves
aim your breath with steady power
on your church, this day, this hour.
Raise, renew the life weve lost,
Spirit God of Pentecost.
Fire who fuels all fires that burn
suns around which planets turn,
beacons marking reefs and shoals,
shining truth to guide our souls
come to us as once you came:
burst in tongues of sacred flame!
Light and Power, Might and Strength,
fill your church, its breadth and length.6
In these first two stanzas of his hymn, Thomas Troeger
invokes the Holy Spirit by using images of wind and fire,
appealing to our experience of these elemental powers of
nature to communicate the power and beauty of Gods
Spirit.
In addition to the repetition of consonant and vowel
sounds and the use of visual imagery, parallel structure is
22
30852_AS 07 Main.indd 22
another writing technique which contributes to the beauty
of poetry. Parallel structure unifies the text and helps the
singer to grasp the authors thought more readily. Since
music does not pause or wait for the mind to decipher
what is being sung, parallel structure is especially useful
in the poetry of songs and hymns. For example:
Where we see wounds or pain untended,
lead us to bind and soothe and heal.
Where we meet spirits bruised or broken,
let us your tender care reveal.
Where there is fear and bitter hatred,
let trust and love through us increase;
where there is conflict and division,
build, with our hands, a place of peace.7
In the parallel structure of this stanza inspired by the
Prayer of St. Francis, each pair of poetic lines begins
with the word where, and each second line of the pair
begins with a verb. The repetition of the pattern pleases the
singer or listener, satisfying the minds desire for order.
Two other important characteristics of liturgical song
texts deserve to be mentioned: the length of the words in
a song or hymn, and the relative ease of their pronuncia-
tion.
Although popular music in a lighter vein occasion-
ally makes successful use of multi-syllable words (such
as supercalifragilisticexpialidocious in Mary Poppins),
one- and two-syllable words predominate in good litur-
gical song texts, with an occasional three-syllable word.
Four- and five-syllable words are extremely rare and are
generally problematic in their musical rendering.
Also, as choir directors and trained singers know, some
words are mellifluous and flow easily in song; others are
more difficult to pronounce, and their sound is not aestheti-
cally pleasing. For instance, the troublesome qualities of
a word such as strength are exaggerated when it is sung,
particularly if it occurs on a prolonged note or at the end
of a phrase.
Likewise, the juxtaposition of two words may create
difficulty for the singer, who must end the first word with
tongue and lips in one position, and begin the second word
with tongue and lips in a different position, all without
altering the rhythm or slowing the tempo. For example,
in the hymn Sing Praise to God Who Reigns Above,8
stanza four, line five, the text reads: Cast each false idol
from its throne. A lively 3/2 meter makes the juxtaposed
consonants ch and f on each false much more challeng-
ing to pronounce than the words healing balm, which
occur on the same notes in the first stanza.
Good News and Beautiful Poetry
Although most people are aware of how much the
musicthe sound and feel of the musiccontributes
to the attractiveness of a song or hymn, they may not be
equally aware of how much the character of the words
themselves contributes to the aesthetic effect. A text sung
August-September 2007 Pastoral Music
7/16/2007 10:32:45 AM
 in the liturgy must not only convey good news and reflect
the truth of our faith; it must also be beautiful poetry. If
it is to be worthy of worship, it must also reflect, though
necessarily inadequately, the God who is Goodness, Truth,
and Beauty.
Notes
1. Second Vatican Council, Constitution on the Sacred Liturgy
Sacrosanctum Concilium (December 4, 1963), 14. English transla-
tion from International Commission on English in the Liturgy,
Documents on the Liturgy 19631979: Conciliar, Papal, and Curial
Texts (Collegeville, Minnesota: The Liturgical Press, 1982), DOL
1:14.
2. See the articles by McMahon, OConnor, and the NPM
Staff.
Gloria in Excelsis
One of the few hymns that has found a permanent
place in Latin (Roman) Rite Catholic worship is the
Gloria in excelsis. Also known as the hymnus angelicus
(angelic hymn) or laus angelorum (praise of the angels)
in some Latin manuscripts, this text began in Greek as
an expansion of the angels greeting in Luke 2:14. The
first expansions of the angelic greeting may date to the
late first or early second century of Christian history, but
there is no manuscript evidence to support that claim.
One form of the expanded text does appear as early as
the Apostolic Constitutions, a fourth century collection
that contains older material. There it is part of morn-
ing prayer, and that is where the textlater modified,
expanded, and called the Great Doxologyfound a
home in the ritual practice of the Eastern Churches: as
part of the Orthros (matins). Though the text has been
made Trinitarian by the addition of a brief mention of the
Holy Spirit in the final line, the main body of the hymn
is equally divided between praise of God as heavenly
king and almighty Father and Jesus Christ, who
takes away the sins of the world and is seated at the
right hand of the Father.
Legend says that Bishop Hilary of Poitiers became
familiar with the Great Doxology during his exile in
Phrygia in about 356. He brought it back with him when
he returned to Poitiers and translated it into Latin. That
Latin translation was brought to Rome and incorporated
into papal Masses. Though there is evidence that at least
some part of the text was used at Christmas midnight
Mass by mandate of Pope Telesphorus (c. 125136),
the Latin text that we know only came gradually into
widespread use in the Eucharistic liturgy in the West.
According to the Liber pontificalisa history of the popes
until the fifteenth centuryPope Symmachus (498514)
introduced it in its current place, after the Kyrie, as part of
the papal Mass and Masses celebrated by other bishops
on Sundays and the feasts of the martyrs. The oldest Latin
version that we have is found in the Bangor Antiphonary
Pastoral Music August-September 2007
30852_AS 07 Main.indd 23
3. Kenneth Burke, The Philosophy of Literary Form (New York,
New York: Vintage Books, 1957), 296304.
4. Timothy Dudley-Smith, Behold a Broken World,
1985, Hope Publishing Co., from the United Methodist Hymnal
(Nashville, Tennessee: The United Methodist Publishing House,
1989), 426.
5. Ruth Duck, As a Fire Is Meant for Burning, from Dancing
in the Universe (Chicago, Illinois: GIA Publications, Inc., 1992),
28.
6. Thomas Troeger, Borrowed Light (New York, New York:
Oxford University Press, 1994), 40.
7. Delores Dufner, osb, God of Our Days and All Our Sea-
sons, unpublished hymn contracted with OCP Publications,
Portland, Oregon, 2006.
8. Johann J. Schutz, translated by Frances E. Cox, from Worship,
third edition (Chicago, Illinois: GIA Publications, Inc., 1986),
528.
Domenico Ghirlandaio (14491494), Adoration of the Magi (detail), tempera on
wood, Galleria dellOspedale degli Innocenti, Florence, Italy.
(c. 690). A description of papal liturgy from the seventh
century (Ordo Romanus I, containing earlier material),
notes that priests were allowed to chant the Gloria only
at Easter, and a later ordo notes that they could also chant
it on the anniversary of their ordination. By the end of
the eleventh century, however, the Gloria had become a
standard part of parish Masses except during times of
penance (that eventually included Advent).
More than fifty chant settings of the Gloria were com-
posed during the Middle Ages, and some of these are
among the most important examples of medieval chant.
The earliest documents containing music for the Gloria
date from the tenth century. While it is believed that the
hymn, intoned by the priest, was originally chanted by
the whole assembly, existing chant melodies include
many that could only be sung by a schola cantorum. One
setting that is widely represented in early documents, in
fact, is one of the more elaborate settings of the Gloria.
This chant, like other elaborate settings, was frequently
farsed (from a Latin word meaning to fill up or
stuff). That is, verses called proses or tropes and
set to notes in the melismatic tune were introduced for
special occasions. (These tropes were added to many fixed
liturgical texts and they were even collected into special
booksthe Libri tropariiuntil they were banned in the
liturgical reforms following the Council of Trent.)
23
7/16/2007 10:32:46 AM
 Gather Us In:
Songs about the Assembly
By Roc OConnor, sj
I
want to reflect with you about disputes that have arisen
concerning the theological adequacy of some of the
song/hymn texts that U.S. Catholics sing at Mass. Some
criticize a number of contemporary liturgical lyrics for
focusing too much on the assembly rather than directing
attention to the praise of God. In this way, and possibly
in other ways, some lyrics allegedly fail the test of Roman
Catholic orthodoxy. So let us consider the following ques-
Rev. Roc OConnor, a member of the Society of Jesus, was
ordained to the presbyterate in 1979. As a member of the St.
Louis Jesuits, Roc participated in publishing more than 150
liturgical songs and settings in 7 collections (19732005),
and he has published 2 collections on his own. Currently
Father OConnor teaches theology at Creighton University
in Omaha, Nebraska, and consults on liturgical matters for
St. John Parish, the center for Creightons campus ministry.
24
30852_AS 07 Main.indd 24
tions: Is it appropriate for the assembly to sing about itself,
that is, for liturgical songs or hymns to be self-referential?
If so, when or under what circumstances? If not, then, is
any self-reference appropriate at all in liturgy?
Stances of Liturgical Prayer
To the extent that self-reference seems to be the sticking
point in criticism of song and hymn texts, several other
aspects of Mass should also appear somewhat awkward
in this regard. The way that some presiders choose to
implement the penitential act should be up for scrutiny
as well as some of the official texts for this introductory
ritenotably the Confiteor. So, too, if self-reference is an
issue, should we take a critical look at the texts of some
responsorial psalms as well as at some approaches to
preaching, which would seem to offend the standard
August-September 2007 Pastoral Music
7/16/2007 10:32:48 AM
 of avoiding self-reference.1 It does not seem completely
honest to single out some liturgical lyrics that are self-ref-
erential and classify them as unsuitable without taking a
more thorough inventory of our entire liturgy. The ques-
tion remains, however, as to whether or not self-reference
establishes a valid stance in liturgical lyrics.
A study of basic Church documents yields a number
of stances, attitudes, or orientations proper to the con-
gregation as it relates to God (and possibly to itself) in
worship. Since hymn or song lyrics shape the relationship
between members of the congregation and God, it would
make sense that these texts ought to stand in accord with
ecclesial principles as found, for example, in the General
Instruction of the Roman Missal. The Instruction describes
the purpose of the introductory rites and the entrance
chant in terms of fostering the sense of unity among the
faithful:
The rites preceding the Liturgy of the Word . . . have the
character of a beginning, introduction, and preparation.
Their purpose is to ensure that the faithful who come together
as one establish communion and dispose themselves to listen
properly to Gods word and to celebrate the Eucharist
worthily. . . .
After the people have gathered, the Entrance chant begins
as the priest enters with the deacon and ministers. The
purpose of this chant is to open the celebration, foster the
unity of those who have been gathered, introduce their thoughts
to the mystery of the liturgical season or festivity, and ac-
company the procession of the priest and ministers.2
The General Instruction requires liturgical singing that
fulfills the goals of the introductory rites: Songs ought
to foster the unity of the faithful. Does this requirement
necessarily exclude self-referential lyrics? Does it indis-
putably endorse songs and hymns that praise God? One
might claim: Since its unity the Church wants, lets sing
about us! I recommend, however, that we ask what sort
of stance best fosters the sense of community that the
General Instruction expects. Might some examples from
official sources help? Im glad you asked.
I did an informal survey of all Sunday introit-entrance
(IA) and Communion (CA)3 antiphons in the current Eng-
lish-language Roman Missal (Sacramentary) and discovered
five different stances or ways these antiphons orient the
Body of Christ in prayer. For the sake of brevity, allow me
to correlate the results of my survey with similar patterns
found in contemporary and traditional lyrics.
The Congregation Sings about Itself (IA: 1.2%; CA: 5%).
These texts place the congregation in a conscious rela-
tionship to itself, helping it to articulate and rehearse
its identity: We are . . . . Examples of this stance from
current collections of hymns and songs include: Here
We Are (Repp), Gather Us In (Haugen), Anthem
(Conry), We Gather Together (Traditional), Song of the
Body of Christ (Haas), One Bread, One Body (Foley), I
Heard the Voice of Jesus Say (Traditional), Ubi caritas
(Traditional Chant), and Sing a New Church (lyrics,
Pastoral Music August-September 2007
30852_AS 07 Main.indd 25
Dufner).4
The Body of Christ Testifies to or Encourages Its Members (IA:
25%; CA: 17%). These lyrics invite members of the congre-
gation to encourage one another or witness to Gods work
in their lives. Examples from the hymn/song repertoire
include: Lift Up Your Hearts (OConnor), Now Thank
We All Our God (Traditional),5 What Wondrous Love
(Traditional), All Are Welcome (Haugen), O Come All
Ye Faithful (Carol), Amazing Grace (Traditional), A
Mighty Fortress Is Our God (Luther), as well as almost
any version of the Magnificat.6
The Community Quotes Scripture (IA: 18%; CA: 45%).
These texts paraphrase Scripture in order to put the sav-
ing Word into our mouths, memories, and hearts. These
include: (I Am) The Bread of Life (Toolan), Be Not
Afraid (Dufford), On Eagles Wings (Joncas), Love
One Another (Dufford), Taste and See (Moore), Come
to the Water (Foley), Ave Maria (Traditional), The Lord
is My Light (Walker), and Seed, Scattered and Sown
(Feiten).
The Congregation Sings about God, Jesus, the Spirit, or
the Trinity (IA: 20.5%; CA: 20%). These texts draw upon
the many biblical textspsalms, prophets, and the epis-
tleswhich speak about God in the third person. Such
an approach is found in hymn and song texts like these:
Jesus the Lord (OConnor), Awesome God (Mullin),
Praise God from Whom All Blessings Flow (Traditional),
Theres A Wideness in Gods Mercy (Traditional), Lift
High the Cross (Traditional), Laudate, Laudate Dominum
(Walker), and All People That on Earth Do Dwell (Tra-
ditional).
The Body of Christ Addresses God Directly (IA: 35%; CA:
13%). These texts express and affirm the IThou relation-
ship of the Body of Christ to God as it sings and prays.
A study of basic Church documents
yields a number of stances, attitudes, or
orientations proper to the congregation as
it relates to God (and possibly to itself) in
worship.
Sample hymn and song texts include: Holy God, We
Praise Thy Name (Traditional), For You Are My God
(Foley), Make Me a Channel of Your Peace (Temple),
We Praise You (Dameans), O Beauty Ever Ancient
(OConnor), O Come, O Come, Emmanuel (Traditional),
Here I Am Lord (refrain only, Schutte), Shepherd Me,
O God (refrain only, Haugen), Loving and Forgiving
(Soper), and others.7
Let me summarize my findings. First, this informal
survey of entrance-introit and Communion antiphons
demonstrates that the Church itself makes room for vari-
ous types of stances or orientations of the worshiping
community: The community sings to itself, about itself,
about God, and to God, often using Scripture as a source.
25
7/16/2007 10:32:49 AM
 Therefore, regarding our initial question, it would seem
that the Roman Missal (Sacramentary) actually does make
some allowance for self-referential lyrics. Second, while
all five stances are reflected in both traditional and
contemporary lyrics, it appears that there are more tradi-
tional and contemporary pieces in the first category than
the one to five percent of official texts in the Sacramentary
make available. Third, this survey helps us return to the
original question afresh and discover that its original
articulationDo some texts focus too much on the as-
sembly?ultimately supports a false dichotomy.
Transcendence vs. Immanence:
An Unsound Distinction
It seems to me that one crucial, underlying issue
concerning the theological adequacy of lyrics involves
an unsound distinction between transcendence and im-
manence. Historically speaking, we see that, in response
to the Councils notion that Christ is actively present in
Sequentia
Until the reform of the Mass after the Second Vatican
Council, the most popular changeable hymn form used
at Mass was the sequence. (Multiple settings of the Gloria
show that it was very popular in the Middle Ages, but
the text did not change, whereas sequence texts changed
with the feast.) Sequences (sequentiae in Latin) developed
out of the medieval practice of troping (from the
Greek for turning) or farsing (from the Latin for the thirteenth century, the texts became much more
stuffing) melismatic chant (five or more notes sung
on a single syllable of text). Particularly from the ninth
to the eleventh century, it was a popular practice to add
new music, textual phrases, and even lines of poetry to
existing liturgical texts and chants.
The melisma on the final syllable of an Alleluia chant
was called a jubilus. This melisma in particular attracted
imaginative writers, who farsed the final jubilus with
new texts, and composers, who replaced the jubilus, when
the Alleluia was repeated after the Scripture verse of the
day, with new melismatic music called a sequentiasome
of these sequences were derived from the music of the
Alleluia, but some were not. Eventually these two tracks
combined, and composers and text writers began to
fill in the space after the Alleluia but before the Gospel
with poetic texts called prosae set to the new music of
the sequentiae. (A prosa or prose is a Latin text composed
chiefly in couplets set to the same phrase of music; the
term sequence originally applied to the music alone,
though it was soon extended to cover the text as well.)
Fairly quickly, these new compositions took on a life of
their own, as the couplets developed into a whole series,
with each set of couplets having its own music. One of
the most famous composers of prosae set to available
musical sequences was Notker Balbulus (Notker the
Stammerer, c. 840912), a monk of the monastery at St.
26
30852_AS 07 Main.indd 26
the worshiping community, two different approaches
emerged to contend with that insight. Each is based on
the experience that something is lacking.
Initial efforts of some after the Council emphasized
divine immanence in order to remedy the perception that
too great a weight had been given to transcendence in the
Tridentine MassGod is too distant! As a result, the
horizontal aspect of worship was vigorously promoted in
order to foster the self-identity of the faithful as a locus of
Divine Presence. In time, others experienced a different
deficiencyGod is missing! This group now intends
to correct that lack by emphasizing divine transcendence
almost to the exclusion of immanence. We seem doomed,
caught on the swinging pendulum of liturgical reactiv-
ity!
Only a profound integration of the transcendent and
immanent at the level of experience will be able to keep
us from a life condemned to reactive polarizations. I be-
lieve that the Church needs to work toward this kind of
both/and integration, to encourage the sort of liturgical
Gall, Switzerland. According to his own explanation,
he learned about sequences and proses from a refugee
priest. While he did not invent the sequence, he certainly
popularized it, writing more that thirty longer sequence
texts and a number of shorter prosae that were collected
in his Liber hymnorum (884).
The writing of sequencestext and musicflourished
between 850 and 1000. By the end of this time, the texts
had clearly become poetic verse. From that point until
poetic, with regular accents and rhyme schemes. Most
sequences were composed to be sung by the choir (or
by a cantor with the choir or alternated between two
choirs), though some included vernacular paraphrases
of the Latin texts that were probably sung by the con-
gregation, which alternated with the choir. Even early in
its history, the sequence was sung polyphonically: There
are examples of parallel organum in late ninth and early
tenth century manuscripts, and later collections show
more developed forms of polyphony. Some sequences
were later set polyphonically to be sung alternatim with
the chant verses (as in settings by Dufay) or set in full
(as in the settings by Josquin des Prs). By the time of
the Council of Trent, thousands of sequences had been
composed. Some had fallen out of use, but many were
still sung between the Alleluia (or the tract, in penitential
seasons) and the Gospel at Mass. In the reform follow-
ing the Council of Trent, only four of these sequences
were included in the Missale Romanum: the sequences for
Easter, Pentecost, Corpus Christi, and funeral Masses.
Another sequence was added later for the feast of the
Seven Sorrows of Mary. The 1970 Missale Romanum
retained four of the five, though it made two of them
optional. Only the sequences for Easter and Pentecost
are currently required texts (intended, of course, to be
sung).
August-September 2007 Pastoral Music
7/16/2007 10:32:49 AM
 A Korean farmer (right) gestures while singing a hymn at Mass in Hong Kong. UCAN photo.
prayer that finds and expresses its dependence on God
in and through the union of believers. Please allow me
to explain what this might look like in terms of several
principles I have gleaned from the Constitution on the
Sacred Liturgy Sacrosanctum Concilium.
q Principle 1: The worshiping community does not gath-
er on its own initiative. Rather, every gathering of
the Body of Christ in the world manifests the local
communitys response to Gods prior call and so is
better referred to as convocation.8
q Principle 2: The liturgy is the action of Christ and the
Church.9
q Corollary 1: Full, active, and conscious participa-
tion expresses and rehearses the communitys
awareness of itself as the Body of Christ in the
world.
q Principle 3: The Risen Christ is present when the
Church gathers to sing and pray.10
q Corollary 1: The Body of Christ best understands
itself as the kenotic presence of Christ in the world
with the Risen Christ, in the Spirit, and offering praise
and thanksgiving to the Father in a way that gives
rise to the Churchs loving service to the world.
q Corollary 2: In this most fundamental orientation
Pastoral Music August-September 2007
30852_AS 07 Main.indd 27
of the Church at worship, the congregation/convoca-
tion consciously enters into an IThou relationship
with the Triune God through liturgical prayer.
q Principle 4: While the most basic relationship which
the Churchs liturgy establishes with God is that of
praise and thanksgiving for the magnalia Deithe great
deeds of Godthe General Instruction articulates and
the Sacramentary demonstrates other stances of the
communitys relationship to God and itself.
ImmanenceTranscendenceImmanence
Indeed, I do believe that the most developed expression
of conscious participation in the prayer of the Body of
Christ is found in the IThou stance. Other types of texts
that claim identity, encourage, witness, quote Scripture, or
sing about God certainly have been important to our prayer
for some time now and will continue to remain so. Yet it
still seems to me that, as the Body of Christ at worship
becomes ever more aware of its corporate relationship
to the triune God, it will move toward addressing God
as You! throughout its prayer. I find that this stance
best fulfills GIRMs instruction about fostering the unity
of the faithful, for it orients individuals in the worshiping
community toward God as the Body of Christ.
27
7/16/2007 10:32:52 AM
 Let me say it once more another way: I endorse the I
Thou approach, not because I emphasize transcendence
over immanence, but because I believe that a truer expres-
sion of the communal relationship of the worshiping com-
munity (immanence) can be found in its outward stance
of praise and thanksgiving to God (transcendence), which
flows necessarily into its loving service to the world. This
approach satisfies the essential impulse of self-referential
lyrics by expressing the communitys identity in terms of
its relationship to God: The community that functions in
conscious awareness of itself as the Body of Christ best
addresses God in thanksgiving and praise and vice versa,
thus putting flesh on the vision of the Constitution that
liturgy is the action of Christ and the Church.
By my calculation, that leaves four other stances to
account for. What role ought these play? Are they to be
seen as mainly supportive of the convocations IThou
relationship to God? What purpose might each serve?
I propose that we continue to deliberate, dialogue, and
discern these sorts of issues as we all seek ways of wor-
shiping that draw us more deeply into the Mystery.

Notes

1. The manner in which some presiders articulate the peni-

tential act ought to receive the same sort of scrutiny, for they
lend undue focus not only to the assembly but also to individuals
within the assembly: (Let us call to mind our failures Lord,
have mercy! This particular implementation of the rite functions
simply as the inverse of contemporary lyrics that offend. A similar
execution of the Confiteor maintains a shift of focus from God to
ourselves. Some responsorial psalm refrains also place a hard
focus on the congregation: We are the people, the flock of the
Lord. Finally, not a few preachers invite the members of the
assembly to center on their own lives: We are called to . . .,
God tells us to . . ., We ought . . . .
2. General Instruction of the Roman Missal: Liturgy Documentary
Series 2, hereafter GIRM (Washington, DC: United States Confer-
ence of Catholic Bishops, 2003), 4647, emphases added.
3. Note how GIRM 86 insists on a focus similar to that of
the introit: During the priests reception of the Sacrament the
Communion chant is begun. This singing is meant to express the
communicants union in spirit by means of the unity of their voices, to
give evidence of joy of heart, and to highlight more the communitarian
nature of the Communion procession (emphasis added).
4. Several other pieces also fit in this class: We Are Called
(Haas), One Spirit, One Church (refrain, Keil), In This Place
(Thompson), and We Are Your People (Traditional).
5. This wonderful hymn could easily find a home in the first
category: The Congregation Sings about Itself.
6. Other hymns or songs in this category include: The King
of Love My Shepherd Is (Traditional), Joy to the World
(Christmas Carol), Seek the Lord (OConnor), City of God International Commission on English in the Liturgy, Docu-
(Schutte), and Tis a Gift to be Simple (Traditional).
7. Other titles include: Remember Your Love (Dameans),
My God, How Wonderful Thou Art (Traditional), Christ Be
Our Light (refrain only, Farrell), Lead Me, Lord (refrain only,
Becker), Be Thou My Vision (Traditional), and Gift of Finest
Wheat (Kreutz).
8. See: Robert F. Taft, sj, What Does Liturgy Do? Toward a
Soteriology of Liturgical Celebration: Some Theses, in Beyond
Benozzo Gozzoli (c. 14201497), Baptism of St. Augustine, fresco, 1464, Church
of St. Augustine, San Gimignano, Italy. According to the Legenda Aurea, St.
Ambrose baptized Augustine at the Easter Vigil in 378. Then, the legend says,
Ambrose praised God by saying: Te Deum laudamus, to which Augustine
replied Te Dominum confitemur (the words on the wall behind the apse). And
they continued, according to the legend, to compose the rest of the text for the
hymn Te Deum.
East and West: Problems in Liturgical Understanding, second revised
and enlarged edition (Rome: Edizioni Orientalia Christiana [Pon-
tifical Oriental Institute], 1997), 239258. Tafts sixteen principles
extend and develop the essential orientation of Sacrosanctum
Concilium.
9. See Second Vatican Council, Constitution on the Sacred
Liturgy Sacrosanctum Concilium (December 4, 1963), hereafter
SC, 12: Rightly, then, the liturgy is seen as an exercise of the
priestly office of Jesus Christ. . . . In the liturgy the whole public
worship is performed by the Mystical Body of Christ, that is, by the
Head and his members. From this it follows that every liturgical
celebration, because it is an action of Christ the Priest and of his
Body which is the Church is a sacred action surpassing all others;
no other action of the Church can equal its effectiveness by the
same title and to the same degree. English translation from
ments on the Liturgy 19631979: Conciliar, Papal, and Curial Texts
(Collegeville, Minnesota: The Liturgical Press, 1982), DOL 1:7,
emphasis added.
10. See SC, 7, emphasis added: To accomplish so great a work
Christ is always present in his Church, especially in its liturgical
celebrations. . . . He is present . . . when the Church prays and sings,
for he promised: Where two or three are gathered together in
my name, there am I in the midst of them (Mt. 18:20).

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 The Faith We Sing

By the NPM Staff

I
f we sing what we believeand believe what we
singand if we sing with deepest emotion what we Top Twenty-Five
believe most strongly, then just what do Catholics in
the United States believe and hold dearest, based on These are the top twenty-five songs identified by our
the texts of the hymns and liturgical songs that we find respondents in 2005 as making a difference in their own
most important? lives of faith. Numbers in parentheses indicate the number
In 2005, NPM conducted an online survey, asking people of respondents who chose that song.
to identify the songs that make a differenceliturgical
songs that have made a lasting impact on their lives of 1. On Eagles Wings (242)
faith. We found that many of the songs named in the 3,000 2. Here I Am, Lord (152)
responses made a difference because they were associated 3. Be Not Afraid (146)
with significant events and important celebrationsthe 4. You Are Mine (138)
funeral of a loved one or friend, the baptism of a child, 5. How Great Thou Art (76)
a wedding, or a religious profession. Some songs have 6. Holy God, We Praise Thy Name (70)
been part of a persons repertoire since childhood, and 7. Amazing Grace (69)
they continue to evoke and express a connection to faith 8. All Are Welcome (58)
and to the Church. 9. Prayer of St. Francis (43)
In our report on the survey (Pastoral Music 30:3 [Feb- 10. Ave Maria (42)
ruary-March 2006]), we observed that we need to take 11. We Are Called (38)
a critical look at the musical selections commonly used 12. Let There Be Peace on Earth (36)
for major celebrations . . . . We should ask ourselves if 13. I Am the Bread of Life (30)
these songs are able to bear the weight of inspiring and 14. The Summons (30)
sustaining faith (page thirteen). As part of that critical 15. Panis angelicus (29)
look, in this article we want to examine the texts of the 16. The Servant SongGillard (29)
top twenty-five songs from that survey to see what kind 17. Pescador de Hombres (28)
of doctrine they express. What do they have to say about 18. Servant SongMcCargill (28)
God, Trinity, Christ, Church, the Scriptures? What sort of 19. Shepherd Me, O God (27)
image do they paint of the Christians role in this world? 20. Ave Verum Corpus (26)
If we had to construct a creed based just on these songs, 21. Lord of the Dance (24)
what would it look like? 22. One Bread, One Body (24)
23. Tantum ergo (24)
24. Hosea (23)
Sources for Texts
25. Pange lingua (23)
Most of our hymns dont spring up as new creations;
they have rootssometimes deep and wide-spreading
roots. The composers of the songs listed here (see box on ballads. (The Te Deum quotes hymns older than itself, the
this page) drew from the Scriptures, of course, particu- Prayer of St. Francis paraphrases the original text, and
larly from the Psalms, the Book of Isaiah, the Gospels, Lord of the Dance is based textually on the medieval
and the Pauline letters. Other text writers drew from the carol Tomorrow Shall Be My Dancing Day.) Some of the
liturgythe Sanctus and the words of institution, for hymns and songs on the list dont seem to draw directly on
instanceas well as from ancient hymns and medieval particular texts but instead read the hymnists experience
through biblical imagery. Examples include How Great
Thou Art, Let There Be Peace on Earth, and Donna
This article was prepared by the NPM Staff based on McGargills Servant Song. In other words, even when a
results of the 2005 online survey of songs that make a differ- song sounds new, it may simply be the most recent echo
ence. of a text that Christians have been singing for nearly two
Pastoral Music August-September 2007 29

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 thousand years, though one, of
course, that brings with it a taste
of the writers own interpretation
of that text.

God in Our Songs

The God whose name we

praise in these texts is the awe-
some Other, the God who is the
creator of all things. Yet this is
also a God of infinite care and
compassion, who raises us up
on eagles wings and makes
divine faithfulness our shield,
who comes to us in the silence
and lifts us from all our fear,
who offers us the amazing grace
of salvation. Our focus in these
hymn texts is clearly more on the
compassionate God than on the
awesome Other. We sing of the
God who cares for all who dwell
in dark and sin and welcomes all into the gathering of ogy that may seem recent, such as Pierre Teilhard de
believers. Chardins image of the cosmic Christ, but in fact they
The God we sing is Trinitarian, but in these hymns we reflect some very ancient hymns, including some early
address the Trinitarian mystery primarily through dox- Christian texts that St. Paul quotes in his letters. These
ologies and not in extended songs of Trinitarian praise or songs describe Christ as the revelation of Gods love in all
reflection. Some of these doxologies, like the final verse time and space. Other images might also seem new but
of Holy God, We Praise Thy Name, are certainly full are actually oldthough not as old as the cosmic Christ
expressions of Christian faith in the three persons, while theme. Sydney Carters Lord of the Dance, for instance,
others, such as the second verse of Panis angelicus, re- would appear to most people to be a very modern reading
fer to this mystery briefly, almost in shorthand, as trina of Jesus life, death, and resurrection seen as a dance, but
deitas unique (Deity three and one). And one doxology, as mentioned earlier, Carter simply rewrites and re-sets
at the conclusion of St. Thomas Aquinass Pange, lingua, Tomorrow Shall Be My Dancing Day, which appeared
gloriosi (and therefore also the second verse of Tantum in a fairly modern collection of carols in 1833 (William
ergo) almost sounds as if its a contemporary reworking Sandys, Christmas Carols Ancient and Modern), but scholars
of Trinitarian language. Thomas offers praise and accla- think that it dates back to the medieval Cornish mystery
mation to the Begetter and the Begotten and to the One plays.
who proceeds from them both (Gentori genitoque . . ./
Procedenti ab utroque). Church

The Christ We Sing We sing a wonderful vision of the Church, particularly

The Christology of these texts is a blend of traditional
themes and contemporary concerns. The first verse of
Pange, lingua, gloriosi and the third verse of How Great
Thou Art have us singing a traditional substitution
soteriology (theology of salvation)Christ took on himself
the burden of our sins and therefore took the place of sin-
ners, becoming the worlds ransom. This same traditional
approach to soteriology finds echoes in You Are Mine,
which describes Christ as embracing all our pain. Other
familiar themes repeated through the history of Chris-
tianity identify Christ as the healer, the Word, and the
peace that the world cannot giveechoing themes first
developed in the Gospel of John and in the Synoptics.
Other songs pick up some approaches to Christol-
30
in the song All Are Welcome. In our vision, the Church
is a place where love can dwell and, indeed, where
love is found and where peace and justice meet. It is
a place for saints, children, prophets, dreamers, where
everyone has a name. There is very little, in these hymns
and songs, of the hierarchical Church or of the apostolic
tradition preserved through history, but in many ways
the fallible human side of the Church appears with all of
its failures, weaknesses, struggles, and hopes.
Eucharist
Our Eucharistic theology, drawing from traditional as
well as contemporary selections on the list, reveals both
a deep faith in the real presence and a profound belief in
August-September 2007 Pastoral Music

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 the transformative power of the Eucharist. Echoing Pope
Innocent VI (13521362), we affirm our belief in the pres-
ence under the Eucharistic species of the true body that
was born of Mary . . ., that truly suffered and was offered
in sacrifice and that offers us a foretaste of heaven (Ave
verum corpus). With St. Thomas Aquinas, we recognize
in our Eucharistic sharing a participation in the bread
from heavenno longer the manna of the desert but
now, with the end of all figures, true nourishment that
comes from sharing in the life of Christ (Panis angelicus).
Even if we cant recognize this reality, faith makes up for
what the senses cant perceive (Pange, lingua, gloriosi).
The Eucharist that we celebrate is the source of our unity
and our transformation. In Christ, through the Eucharist,
we have life in uslife that will be raised up on the last
day. than to be understood. We are to be servants, but we
On Mission until the End
Its interesting that so many of the hymns and songs in
this list focus on the mission that Gods people share. In
fact, nine of these twenty-five titles refer directly to this
mission. Clearly, this list reflects the focus at the Second
Vatican Council on the Church as the people of God and
on the baptismal foundation of ecclesiology (theology of
the Church). It reflects as well the theology of the laity
that has developed from that foundation in the decades
since the council and that is reflected in such documents
as the 2005 USCCB statement Co-Workers in the Vineyard
(see Pastoral Music 30:6 [August-September 2006].
Heres what these texts tell us about the mission that we
have and the way in which we share it: God acts through
Cantors lead singing at a Mass sponsored by the Archdiocese of Baltimore Office of Ministry with Gay and Lesbian Catholics.
Pastoral Music August-September 2007
30852_AS 07 Main.indd 31
intermediaries and so requires people who will accept the
mission to spread the word of divine mercy, to embrace
people with the same love that God shows, and to be
peacemakers. God calls us by nameissues a personal
invitation through the Churchto share in that divine
mission. That call may ask a lot of us. God may call us to
go where we dont know and to be changed forever. Still,
we are to accept the call not in gloom but in brightness,
shining with the joy and the love of the Lord. We are to
be Gods own song. If we are to be effective, however, we
must live the message that we proclaim: If we are to be
peacemakers, for example, we must ourselves be people of
peace. The task of being channels of Gods love and peace
is so important that we are more willing to be consolers
than to be consoled, more prepared to be understanding
must acknowledge our own needs and weaknesses and
let others minister to us.
The outstanding model of our mission, of course, is
the Blessed Virgin Mary. She is the vessel of the divine
presence and the one who intercedes on our behalf; she
is the one who sings Gods praise in the Magnificat and
through her life. Other models are the members of the
Twelve who were fishers by trade, who left all behind to
follow Jesus and to seek other shores.
Though they may face hardships, Gods people will
not die of thirst but will, in the end, see the face of
God and live. That is our great goal, the purpose of our
lives: to be images of divine love in this life so that we
may be completely united with God in the divine reign.
And then weve no less days to sing Gods praise than
when wed first begun.
31
7/16/2007 10:32:58 AM
 We Are What We Sing:
Sing, But Keep Going
By Ruth C. Duck
C
hoosing congregational song wisely is like pre-
paring nutritious food for a household for the
sake of their health and well-being. The more
we learn about nutrition, the more the saying
we are what we eat rings true. We may also be what we
sing. The Apostle Paul wrote: If you confess with your
lips that Jesus is Lord and believe in your heart that God
raised him from the dead, you will be saved (Romans
10:9). Confessing with the lips through liturgy and
song enacts our faith in a concrete way. Not only do we
willingly tell the world what we believe, the sound of
what we say or sing also uses our muscles and resonates
through our bodies, the fundamental musical instruments
used for singing in worship. Expressing our faith with our
lips is more active than listening and more physical than
thought. It gives form to the affections of our hearts. To
sing involves us even more bodily in prayer to God and
confession of faith to the world. And music has its own
wordless way of moving and shaping us in and around
and beyond the lyrics. Singing our faith changes us.
Singing to Build the Body
A wholesome song of faith becomes more and more
meaningful as we sing it repeatedly as time goes by
through the rhythms of the churchs year. Its not so much
that one singing of a song changes us; with repeated sing-
ing, the words lodge in our souls and shape our beliefs
and our Christian identity, whether or not we are fully
aware of what we are singing. Thus, it is important for
pastoral musicians to develop a repertoire, a core of songs
the congregation knows by heart. Even if the people
havent memorized all the words, these songs become
a reservoir of faith expression to serve them not only in
liturgy but also in daily life. A woman I was interviewing
as part of a congregational studies project applauded her
churchs efforts to learn songs growing out of its several
cultural groups but complained: We are always singing
new songs, but we never learn anything well. We need a
repertoire of songs to pass on to our children!
Dr. Ruth C. Duck, a widely published author of hymn
texts and president of the North American Academy of
Liturgy, is a professor of worship at Garrett-Evangelical
Theological Seminary in Evanston, Illinois. This article is
copyright 2007 by Ruth C. Duck.
32
30852_AS 07 Main.indd 32
The repertoire should represent a nutritious diet of
songs in order to build a strong and healthy body of Christ.
Hymns with well-developed texts are like protein: They
clear our thinking and give energy to sustain us. Shorter
songs and repeated choruses, such as Taiz chants or La-
tina/o coritos, dont so much feed our thought processes as
nurture our spirituality, like delicious fruit that offers us
important vitamins while delighting the tongue. The sung
parts of the liturgy, such as the Sanctus, enable the full,
conscious, and active participation of the whole people of
God in worship, like fresh green vegetables that support
bodily processes that keep us well. The analogy could be
developed further, but the point is that the songs we know
by heart should be wholesome, supporting the growth of
Christs body, enabling us to live faithfully in the world.
Augustine wrote: You should sing as wayfarers
dosing, but continue your journey. Do not be lazy, but
sing to make your journey more enjoyable. What do I
mean by keep going? Keep on making progress. . . . If
you make progress, you will be continuing your journey,
but be sure that your progress is in virtue, true faith, and
right living. Sing then, but keep going. 1 Walk, roll using
a wheelchair, run with the enthusiasm of children, process
solemnly with the great body of the saints; stroll, dance,
hike. In whatever way we move, sing and press onward
to the high calling of the people of God.
Songs Shape the Way We Live
If we are what we sing, then our songs affect the way
we live as Christians together in the assembly and scat-
tered in the world. My conviction that songs shape the
way we pray, think, and live was what first propelled me
into hymn text writing. My churchthe United Church
of Christis made up of four former denominations, one
of which ordained women as early as 1869. In 1973, as I
approached graduation from seminary with a master of
divinity degree, I discovered that allowing the ordination of
women and actually calling women to serve as pastors are
not the sameit was difficult to find a church that would
welcome me as pastor. I was also beginning to notice that
almost all the hymns we were singing addressed God in
masculine metaphors and even spoke of humanity in male
terms such as brothers and men. I grew to believe that
language which pictures God and the people of God only
as male (and never as female) contributes to the margin-
August-September 2007 Pastoral Music
7/16/2007 10:32:58 AM
 alization of women in the churches. And so I
accepted an invitation to work with a group
from the Ecumenical Womens Center in
preparing a book of familiar hymns edited to
avoid gender imbalance. In working on Rise
Up, O Men of God and Lead On, O King
Eternal, I was inspired not to change the old
texts but to write new hymn texts with new
language addressing the theme and using
the tune of the original hymn texts. And so
my first hymn texts were Arise, Your Light
Is Come (about rising to accept Gods call)
and Lead On, O Cloud of Presence (using
Exodus imagery to speak of the movement
onward of the people of God). I was eventu-
ally ordained and served two churches as
pastor. I was also fortunate enough to have
several of my texts published in my churchs
hymnal, the New Century Hymnal.
But the justice to which God calls us is not to raise just (in the words of Brian Wrens hymn, Theres a Spirit in
us, working for fair treatment of our own sex, race, or the Air) we live tomorrows life today:
culture. Paul speaks of a church in which there is no lon-
ger Jew or Greek, there is no longer slave or free, there is Theres a Spirit in the air, telling Christians everywhere:
no longer male or female, for all of you are one in Christ Praise the Love that Christ revealed, living, working,
Jesus (Galatians 3:28). Isaiah also provides the vision of in our world. . . .
a day when God will gather all people in a great feast:
When believers break the bread, when a hungry child
is fed,
On this mountain the Lord of hosts will make for all
praise the love that Christ revealed, living, working,
peoples a feast of rich food, a feast of well-aged wines, of
in our world. . . .
rich food filled with marrow, of well-aged wines strained
clear. And God will destroy on this mountain the shroud
May the Spirit fill our praise, guide our thoughts
that is cast over all peoples, the sheet that is spread over
and change our ways:
the nations, and will swallow up death forever. Then the
God in Christ has come to stay. Live tomorrows life
Lord God will wipe away the tears from all faces, and the
today!2
disgrace of Gods people from all the earth, for the Lord
has spoken (Isaiah 25:68, NRSV, slightly adapted).
Augustines reminder, sing, but keep going, is in
These visions are not given only to comfort us with the order. I notice in myself the tendency to believe because
hope in a life beyond this lifethough as Christians we I have written, or sung, or preached something, I have
hope to share in the resurrection of Christ in the life to done it. Let us pray, then, that what we sing with our lips
come. They are not speaking only of a spiritual realityas may resound in our lives, giving thanks (as those who
slaveholders did when they passed laws affirming that love to sing) for the vision of John of Patmos, that in the
baptism did not change the work status of slaves, or as fullness of Gods reign we may sing a new song of praise
the rulers of this world do when they speak of peace while to God and to the Lamb, who is worthy to receive power
waging war. They are statements of hope in the future and wealth and wisdom and might and honor and glory
God labors to create for this worldwhere nations will and blessing, forever and ever (Revelation 5:9, 11-13,
live together in peace, violence and injustice will cease, paraphrased). And let us, as leaders of the churchs song,
and no one will weep over needless suffering, but all will feed Gods family with care.
rejoice in the presence of God.

Singing into the Future Notes

1. Augustine of Hippo, Sermo 256, 1.2.3.; PL 38, 11911193.

Our hymnsand all our worshipshould prepare us
to live into this future that God offers, however distant and
improbable it may seem. In worship, as we show respect
to all and pray for all people, we begin to embody Gods
reign. And the words of hymns should put the taste of
Gods vision in our mouths, on our lips, shaping us little
by little into persons who live toward Gods vision, so that
Pastoral Music August-September 2007
Used in the Roman Catholic Office of Readings for Saturday
in the Thirty-Fourth Week of Ordinary Time, which is the last
day of the liturgical year. English translation from the Liturgy
of the Hours 1970, 1973, 1975, 1976, International Commitee
on English in the Liturgy. All rights reserved.
2. Words by Brian Wren, 1979, Hope Publishing Co., Carol
Stream, Illinois.
33

30852_AS 07 Main.indd 33 7/16/2007 10:33:01 AM

 Background
Origins of the Latin Liturgical Hymn
By Joseph Connelly
T
he real father of Latin hymnody
is St. Ambrose of Milan (c. 334397),
though St. Hilary of Poitiers was also
composing hymns about the same time.
St. Jerome mentions a book of hymns by
Hilary, which was known only by this
reference until a manuscript of them was
found at Arezzo in the nineteenth century.
But they were lost almost as soon as they
were written, for they are intricate and
obscure and therefore ill-suited to public
singing. St. Hilary said that the Gauls were
not very clever in singing hymns, presum-
ably in comparison with the East, where
he had heard hymns sung. But the Gauls
might have retorted that their bishop was
not very clever at writing hymns which
they could sing.
St. Ambrose and the Milanese had no
such difficulties. They were only too ready
to sing what he composed, and the choice
by Ambrose of the iambic meter was the
element of the unexpected which genius
always turns to success.
Arian1 troubles at Milan provided the
occasion for Ambrose to write hymns.
If the Arians were going to press poetry
and music into the service of heresy, St.
Ambrose would do the same for the
cause of the true faith and at the same
time provide the faithful with a way of
beguiling the time of their siege. Canon
Mulcahy2 describes Ambroses hymns as
easy to understand, easy to remember,
and easily sung. In Splendor paternae
gloriae,3 for example, Ambrose crafted a
statement of Catholic faith which people
could easily understand and use in the
defense of their faith. It could easily be
remembered, for of all forms the iambic
quatrains are the easiest to recall. It could
This article is an adapted excerpt from the
introduction to Joseph Connellys Hymns of
the Roman Liturgy, published by The New-
man Press, Westminster, Maryland, in 1957.
Father Connelly was a priest of the Archdiocese
of Birmingham, England, and the work was
originally published by Robert Maclehose and
Co., Ltd.
34
30852_AS 07 Main.indd 34
easily be sung. All that was needed was a
good tune, and they seem to have had no
difficulty about that in those days. It may
perhaps be that St. Ambrose did not write
his hymns for strictly liturgical use, but
it was not long before hymns were being
used in the liturgy, so that he is rightly
styled the father of liturgical hymns.
Thus with St. Ambrose began the long
line of writers of Latin hymnsPruden-
tius, Sedulius, Fortunatus, Adam of St.
Victor, the two Thomases (of Celano and
of Aquino)to mention a few whose
names are known, as well as a host of
anonymities.
The success of St. Ambrose also pro-
duced many imitators, and the results of
their work were called Ambrosiani because
they were written in imitation of (or in
the style of) Ambrose. Very many of the
breviary hymns belong to this anonymous
class, and many in the past have been
incorrectly ascribed to the saint through
a misunderstanding of the term Ambro-
siani.
Customs Varied
Customs varied about the admission
of metrical compositions into the official
worship of the Church. The monks seem to
have used them in this way before the time
of St. Benedict (480546), for he is able to
direct the use of an ambrosianum at different
hours of the divine office without further
specification.4 Among the secular clergy,
hymns were in use in some places and not
in others, and at Rome they were not finally
admitted for secular use in the basilicas
until the twelfth century. Eventually they
were given a fixed place in the Breviary of
the Curia of the thirteenth century from
which, after many vicissitudes, the Roman
Breviary of today is descended.
Monastic usage, different local brevia-
ries, and the collections of the hymns of
different writers brought into being differ-
ent hymnals. Caesarius of Arles (470543),
for example, drew up a rule for monks
before he was bishop and republished it,
with various changes, for nuns after he
became bishop. Both are said to be based
on the customs of Lrins. His successor,
Aurelian (died 553), revised both rules.
Each bishop directed the use of hymns,
and the first lines of very many of them
are giventhe two lists being identical
except for two hymns that Aurelian added.
The list of hymns obtained by comparing
the two rules and the relevant manu-
scripts gives us, substantially, a hymnal
sometimes called the Old Hymnal. But
other manuscripts, roughly from the tenth
century onwards, show that many of these
hymns had gone out of use and that others,
more numerous than those that had been
removed, were admitted. This, then, gives
us a second hymnal, often referred to as
the Later Hymnal.
Scholars have since debated the rela-
tionships of these hymnals to each other
(development or replacement), to the
original Benedictine office, and to the
hymnal used by the Church of Rome and
the Roman liturgy as revised for use in the
Frankish Kingdom after Charlemagne.
These two hymnals, at any rate, were the
source for the hymns used in the Roman
Breviary and related offices before the
Council of Trent.
Notes
1. Arianism was a Trinitarian and Chris-
tological heresy named for Arius, a presbyter
in Alexandria, Egypt, in the late second and
early third century. Though condemned by the
Council of Nicaea (325), Arianism was a popular
form of Christianity throughout the fourth and
fifth centuries, and some Arian Christians held
powerful positions in the Church (including
the episcopate of Milan before the election of
Ambrose) and in the Roman Empire (including,
at times, the emperor and empress).
2. Very Rev. Canon Mulcahy, The Hymns of
the Roman Breviary and Missal (Dublin, Ireland:
Browne and Nolan, 1938).
3. Used in the Roman Breviary as the hymn
at lauds on Mondays.
4. See, for example, chapters twelve, thirteen,
and seventeen of the Rule of St. Benedict.
August-September 2007 Pastoral Music
7/16/2007 10:33:02 AM
 Music Industry News
Thanks, Exhibitors
We are grateful to the nearly sixty
companies and individuals who exhib-
ited at the 2007 National Convention in
Indianapolis and all those companies that
provided services that made the conven-
tion possible.
We particularly want to thank Rodgers
Instruments and Allen Organ Company
for providing the instruments installed
for the convention events and the Yamaha
Corporation for the pianos that we used
in the main hall and at other sites. NPM is
also grateful to all those who contributed
items for the Silent Auction.
Allen Elite Opus I
The Allen Elite program merges the
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Each Elite organ will be a numbered opus
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Miller, Allens Vice President of Product
Development. The primary goal for this
design is the support of congregational
singing and traditional worship service
organ repertoire. Opus Is stops were care-
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Pope Benedict XVI greets the assembly for the canonization of Friar Antonio de SantAnna Galvao.
Pastoral Music August-September 2007
30852_AS 07 Main.indd 35
relationship between the organs various pipe organ when it is working again. For
divisions, each division being complimen- additional information, contact Duane
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Two new artists have joined GIAs fam-
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Rodgers Organ Greets Originally from Singapore, Chris de
Pope Benedict in Brazil Silva currently lives in Los Angeles, Cali-
fornia. His debut recording, One Love, One
The open-air Mass that Pope Benedict Song, was released
XVI celebrated in So Paolo, Brazil, to in February 2007
canonize Friar Antonio de SantAnna at the East Coast
Galvaothe first Brazilian-born saint Religious Educa-
included a singing assembly of half a tion Conference in
million people accompanied by a Rodg- Washington, DC.
ers Trillium Masterpiece Series 788 two- Presently the direc-
manual organ and a choir of more than tor of music minis-
1,000 people. The organ was installed by tries at St. Brendan
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Roland Brasil Ltd., and it was so success- and School, Chris
ful that representatives of Roland Brasil works with adults,
were invited by the director of music at youth, and children in a multicultural,
Se Cathedral in So Paolo to discuss the multilingual parish setting. Chris is a
possibility of installing a Rodgers organ graduate of the University of Southern
to use while the cathedrals pipe organ California Thornton School of Music,
is being repaired. The advantage of this where he studied music composition with
temporary installation is that the Rodgers an emphasis in film scoring.
console may be easily interfaced with the Pablo Sosa is an internationally rec-
ognized composer who works for the
Instituto Superior Evanglico in Buenos
Aires, Argentina,
where, among
other duties, he
coordinates the
production of the
music for the com-
munity. He also
gives classes in
choral direction
at the National
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Argentina. Sosas music has also been
published in this country by OCP. This new
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of Sosas best compositions, reflecting
both the folk and contemporary genres
of Argentinian liturgical music.
35
7/16/2007 10:33:05 AM
30852_AS 07 Main.indd 36 7/16/2007 10:33:09 AM
 Professional Concerns
By Rob Monath
Copyright, Part One
Most pastoral musicians must deal with
music copyright issues on a regular basis.
Creating rehearsal tapes, reprinting text
in church bulletins, recording worship
services, adapting scores and parts for
performance, photocopying out-of-print
music, filming videos, and posting website
materialsall of these activities can raise
copyright questions. In some instances, the
law is straightforward and easy to apply.
Sadly, however, clarity in the copyright
arena is often a scarce commodity.
As a music copyright attorney and pub-
lisher, I have dedicated my professional
life to helping my clients use copyrighted
materials in a non-infringing manner. Yet
it is unrealistic to expect non-lawyers,
acting on their own without the advice
of counsel, to function as experts in an
area that in many respects has become
inherently inscrutable.
A more feasible goal for a music pro-
fessional is to develop an appreciation for
the recurring particular copyright issues
which one encounters and then to estab-
lish a manageable protocol for addressing
these recurring issues responsibly and
efficiently.
A Recording Project,
For Example
For example, assume that a church
choir wishes to record its performance
of a live Christmas concert and release it
on CD. This type of recording project has
many facets which can raise routine music
copyright issues. Consequently, adopt-
ing and implementing a best practices
approach to your planned CD release
will provide you with a framework for
Dr. Rob Monath is an attorney who
concentrates on intellectual property mat-
ters, especially copyright and trademark,
entertainment law, internet law, licensing,
and trade secrets. He holds a B.A. in Eng-
lish and a J.D. from the University of North
Carolina at Chapel Hill. Website: www.
robmonath.com.
Pastoral Music August-September 2007
30852_AS 07 Main.indd 37
addressing these common
questions not only for the
immediate project but also
for subsequent similar
endeavors.
There are five elements
of a live performance
recording project that are
important. They include:
programming, rehearsal,
performance, recording, and CD manu-
facture and distribution. Let us examine
each of these elements individually.
Advance program planning is critical.
If you decide to program a public domain
work, such as a Bach cantata, then you do
not need permission from the publisher
to include this selection on the recording.
(For this reason, many small classical
record labels have begun releasing more
recordings of public domain music.) Inclu-
sion of copyrighted compositions, on the
other hand, will require permission from
the publisher or the publishers agent.
Rehearsal of a copyrighted work
presents a separate set of issues. May
instrumentalists enlarge their parts for
ease of performance? (Technically no,
but if the enlargement is of a purchased
part, most publishers would probably not
object.) Is permission required for burning
rehearsal CDs for the performers? (Yes.)
Can you add a tenor part to a published
SAB arrangement without permission?
(No. This is a fundamental change requir-
ing the permission of the publisher.)
Since a copyright owner technically
holds a bundle of separately exercisable
rights, purchase of sheet music does
not automatically confer permission to
perform the purchased work. Certain
public performances require express
permission from the publisher or the
publishers performing rights agent (the
American Society of Composers, Authors,
and PublishersASCAPor Broadcast
Music, Inc.BMI). Fortunately, most
performances of music rendered in the
course of services at a place of worship
are exempted. However, a special evening
concert that is not part of a service might
not be exempt, even if the concert is held
in a church. (It would not be exempt, for
example, if any musicians are paid.)
When a recording is made of a musical
composition, a separate sound recording
copyright exists in the actual fixation of
sounds in the recording itself. It is critical,
therefore, for the producer of the record-
ing (usually the church) to obtain releases
from the performers so that the church,
rather than the performers, owns this
sound recording copyright. Use of any
union musicians may raise special consid-
erations with respect to recording clear-
ance, as union regulations may mandate
rights retention or re-use restrictions.
Manufacture and distribution of the
recording in phonorecords such as
CDs requires issuance of a mechanical
license. Mechanical licenses are fairly
easy to obtain for works that have been
previously recorded and released com-
mercially, either directly from the pub-
lisher or through the Harry Fox Agency
Songfile website http://www.harryfox.
com/public/songfile.jsp. (This service
permits instant licensing for as few as
250 units at 9.1 cents per song per unit,
assuming a duration of five minutes or
less for each song).
In sum, by the time this CD project
is completed, you will have gained a
much better understanding of public
domain works, permissible adaptations
and arrangements of copyrighted works,
performance licensing and exemptions,
sound recording copyrights, and mechani-
cal licensingall of which are common
music copyright areas for any church
musician.
The second article in this two-part series
will review available resources for answering
common music copyright questions and special
considerations for digital music uses.
37
7/16/2007 10:33:11 AM
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 Hotline
Hotline is a service provided by the
Membership Department at the National
Office. Listings include members seeking
employment, churches seeking staff, and
occasionally church music supplies or
products for sale. We encourage institu-
tions offering salaried positions to include
the salary range in the ad. Other useful
information: instruments in use (pipe or
electronic organ, piano), size of choirs, and
the names of music resources/hymnals in
use at the parish.
A listing may be posted:
on the web pagewww.npm.org
for a period of two months ($50 for
members/$75 for non-members);
in print twiceonce in each of the
next available issues of Pastoral Music
and Notebook ($50 for members/$75 for
non-members);
both on the web page and in print
($75 for members/$125 for non-mem-
bers).
Ads will be posted on the web page as soon
as possible; ads will appear in print in ac-
cord with our publication schedule.
Format: Following the header informa-
tion (position title, church or organization
name, address, phone, fax, e-mail, and/or
website addresses), ads are limited to a
maximum of 100 words.
Ads may be submitted by e-mail to npm-
mem@npm.org, faxed to (240) 247-3001, or
mailed to: Hotline Ads, 962 Wayne Avenue,
Suite 210, Silver Spring, MD 20910-4461.
When submitting your ad, please include
your membership number and the name of
the person to whom or institution to which
the invoice should be mailed.
Position Available
Delaware
Director of Music/Organist. St. Ann
Church, 2013 Gilpin Avenue, Wilmington,
DE 19806. E-mail: jlawruk@cdow.org. St.
Ann Parish in Wilmington, Delaware, is
seeking a music director/organist with
experience in Catholic liturgy, collabora-
Pastoral Music August-September 2007
30852_AS 07 Main.indd 39
tion, and a variety of music styles. Degree
in music or equivalent preferred. Must
have excellent leadership, communica-
tion, and keyboard skills. Parish is an
active 900-household parish with good
mixture of age groups. Responsibilities
include: planning music for all liturgical
celebrations; scheduling and coordinating
musicians and cantors for three weekend
Masses, holy days, funerals, seasonal
services, religious education and school
liturgies, weddings; and conducting the
adult choir. Salary commensurate with
education and experience. Please send
rsum and inquiries to Music Search Road, Decatur, GA 30032. Phone:(404)
Committee. HLP-6986.
Florida
Musician/Liturgist. St. Stephen Catholic
Church, 5049 Bell Shoals Road, Valrico,
FL 33594. Phone: (813) 689-4900; e-mail:
tmatthews@ststephencatholic.org. This
person will work closely with the pastor,
director of music, and youth minister
and help provide music for our parish
liturgies and LifeTeen and Edge youth
ministries. This person will also serve
as liturgist for the parish. Qualified ap-
plicant must be active Catholic; possess
musicianship skills required to lead a
congregation in worship; knowledge
about and understanding of the liturgy
of our Church; and the leadership skills
required to recruit, develop, organize, and
train liturgical volunteers and musicians.
Salary commensurate with credentials and
experience. Health insurance benefits are
provided. Interested candidates should
send rsum to Tim Matthews, Parish
Manager. HLP-6963.
Diocesan Director of Liturgical Music.
Diocese of Orlando, PO Box 1800, Or-
lando, FL 32802-1800. Fax: (407) 246-4941;
e-mail: humanresources@orlandodiocese.
org. The Diocese of Orlando seeks a
full-time director to serve the needs of a
diverse diocese. The director collaborates
in providing norms and formation op-
portunities, planning diocesan liturgical
celebrations and conferences, and serves
as principal musician for diocesan cer-
emonies. Applicant possesses five years
pastoral experience and masters degree,
preferably in liturgical music. Excellent
choral skills required as well as piano/
organ skills. Some facility with Spanish
preferred. Salary commensurate with
education and experience. Send rsum
to Theresa Simon, Director of Human
Resources. HLP-7009.
Georgia
Director of Music and Liturgy. Ss. Peter
and Paul Catholic Church, 2560 Tilson
241-5862; fax: (404) 241-5839; e-mail: ehill@
stspandp.com. Full-time position in 700-
family parish in Archdiocese of Atlanta.
Responsibilities include adult Gospel and
childrens choirs; cantor training; and
music at three weekend Masses. Must be
available to play and coordinate music
for weekend liturgies, weddings, funer-
als, and feast days. Also organize and
facilitate liturgy committee and liturgical
ministries. Strong piano/organ, vocal, and
people skills. Degree in the music field/lit-
urgy and three to five years experience in
Catholic liturgy preferred. Benefit package
including health insurance. Salary com-
mensurate with experience and education.
Please fax or e-mail rsum, references,
and salary requirements to the attention
of Father Eric Hill. HLP-6968.
Maryland
Associate Director/Organist. Cathedral
of Mary Our Queen, 5200 North Charles
Street, Baltimore, MD 21210. Full-time
position. Musician to join the cathedral
music ministry to assist with choral, or-
gan, and administrative responsibilities
as they relate to the music ministry and
the Cathedral Music Series, including
accompanying the cathedral choirs, direct-
ing the handbell choir, assisting with the
Cathedral Choristers and contemporary
choir, and playing for weekend liturgies,
rehearsals, and concerts. Please send a
formal letter of application, rsum, and
three personal references to Mr. Daniel J.
Sansone. HLP-6991.
39
7/16/2007 10:33:13 AM
 Massachusetts
Director of Music Ministry. St. Zepherin
Parish, 99 Main Street, Wayland, MA
01778. E-mail: fatherronatstz@comcast.
net. Part-time position in welcoming,
suburban Boston, VaticanII parish (950
families). Candidate should possessex-
cellent musical skills, be well-versed
in both traditional and contemporary
repertoire, and be a committed Catholic
with a strong liturgical background. Du-
ties include providing music for parish
liturgies; recruiting and training parish
musicians including volunteer cantors;
and being an integral part of the parish,
staff, and worship committee. Worship
aids: Gather Comprehensive and OCPs Spirit
and Song. Bi-manual Rodgers organ with
MIDI, five-year-old Boston grand piano,
and most importantly a singing assembly.
Mail or e-mail letter of interest and rsum
to Father Ron Bourgault. HLP-6944.
Michigan
Associate for Liturgical Music. Catholic
Diocese of Saginaw, 5800 Weiss Street,
Saginaw, MI 48603-2799. Website: www.
saginaw.org. The Cathedral of Mary of
the Assumption and the Catholic Diocese
of Saginaw seek an associate for liturgi-
cal music serving in a dual capacity at
the cathedral and the diocesan Office of
Liturgy. Major responsibilities include
planning, preparing, and coordinating
the music for all cathedral and diocesan
liturgies in collaboration with the newly
established cathedral pastoral team and
the Office of Liturgy staff. Requires pro-
ficiency in organ, piano, and conducting
cantors, cathedral and diocesan choirs,
and instrumentalists and experience in
pastoral/liturgical music and Roman
Catholic liturgy (both parochial and
episcopal). Submit academic credentials,
rsum, references, and salary require-
ments to Human Resources. HLP-6993.
Missouri
Director of Music, Organist. St. Gabriel
the Archangel Catholic Church, 6303 Not-
tingham Avenue, St. Louis, MO 63109.
Phone: (314) 353-6303; website: www.
saintgabes.net. Full-time position. As-
sistant to be hired with the input of new
director. Vibrant 1,600-family parish in
strong urban neighborhood with a long
tradition of quality liturgy and music.
Three-manual pipe organ and extensive
music library. Active music department of
adult, children, and handbell choirs with
experienced cantors and instrumentalists
available. Dedicated music space and
offices in gallery. Masters degree pre-
ferred. Salary, benefit package, and health
insurance commensurate with education,
experience, and archdiocesan guidelines.
Only well-qualified candidates will be con-
sidered. Send rsums to Fr. Bob Samson
at the above address. HLP-7004.
Nebraska
Pastoral Minister Working with Litur-
gies. Creighton University, 2500 California
Plaza, Omaha, NE 68178. Campus min-
istry seeks a full-time pastoral minister
beginning in August 2007. Creighton is
a Catholic Jesuit university serving ap-
proximately 6,700 students. The ideal
candidate will be Catholic and able to
work collaboratively with our liturgy team
to coordinate our university and parish
liturgies. The person will be an integral
member of the campus ministry staff and

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40 August-September 2007 Pastoral Music

30852_AS 07 Main.indd 40 7/16/2007 10:33:14 AM

30852_AS 07 Main.indd 41 7/16/2007 10:33:18 AM
 collaborate with parish staff. Familiarity
with Catholic and Jesuit higher education
and Ignatian spirituality is desirable. Send
a current rsum and letter of interest to
Laura A. Weber, Ph.D., Director, Campus
Ministry. HLP-6981.
New Jersey
Director of Liturgy and Sacred Music.
Saint Magdalen de Pazzi R.C. Church,
105 Mine Street, Flemington, NJ 08822.
Website: www.stmagdalen.org. Vibrant
suburban parish seeking full-time director.
Should be well versed in Churchs musical
documents, particularly Musicam Sacram,
and recognize premier place of chant and
polyphony in Churchs musical treasury.
Proficiency in organ, piano, conducting
required. Director will oversee all aspects
of music program and collaborate with
pastor and liturgy committee. Must be
practicing Catholic with evident faith life
and reverential approach to liturgy. Col-
laboration, professionalism, and flexibility
also necessary. Our liturgy is complement-
ed by a new pipe organthree-manual
and pedal design, 569 speaking pipes, and
MIDI. Rsum and cover letter to Sacred
Music Search Committee by August 15,
2007. HLP-6994.
Ohio
Director of Music. Saint Columbkille
Catholic Church, 6740 Broadview Road,
Parma, OH 44134. Phone: (216) 524-1987;
fax: (216) 524-9146; e-mail: stcolumb@aol.
com. Full-time position in vibrant 4,700-
family parish. Well-established program;
adult, contemporary, mens, childrens,
and bell choirs; cantors; six weekend
liturgies, holy days, and school liturgies.
Funerals/weddings additional. Six-foot
Yamaha grand, eighty-eight-key KORG
Triton keyboard, pipe organ. Candidate
must have good understanding of Roman
Catholic liturgy and strong organizational
and people skills, be comfortable with a
wide variety of musical styles, and have
strong keyboard and directing skills.
Degree in music and five years experience
in Catholic liturgy preferred. Compensa-
tion commensurate with experience and
education. Send cover letter and rsum to
the attention of Brother Lawrence Verbiar.
HLP-6988.
Pennsylvania
Director of Music. Phone: (610) 856-1006;
e-mail: musicmin1@dejazzd.com. Grow-
ing rural parish of 780 families that enjoys
42
30852_AS 07 Main.indd 42
Singing hymns at Mainside Chapel at Camp Taqaddum, Iraq. Photo by U.S. Marine Lance Corporal Joel
Abshier.
a variety of musical styles and celebrates
liturgy conforming to the documents of
Vatican II seeks a part-time director of
music. St. Benedict Parish is located in
Berks County near Morgantown, Penn-
sylvania, five minutes from Pennsylvania
Turnpike exit 298 Morgantown. Requires
proficiency in organ, experience as choir
director, and a thorough understanding of
Roman Catholic liturgy. Two-manual Al-
len Renaissance organ, Rolland RD700SX
keyboard, RitualSong hymnal. Position
available July 1, 2007. Contact Marge Vath
by e-mail or phone for a full job description
or to submit rsum. HLP-6972.
Wyoming
Director of Pastoral Music. St. Pauls
Newman Center, University of Wyoming
Catholic Community, 1800 E. Grand Av-
enue, Laramie, WY 82070. Phone: (307)
745-5461; fax: (307) 742-0521; e-mail:
sandy@newmancenter.org; website: www.
newmancenter.org. University commu-
nity of 450 families, 600 students seeks
full-time director. Position objective is to
facilitate participation of entire assembly
at worship and to assist presider and
other ministers in creating high-quality,
Spirit-filled liturgical services through
song and music. Responsibilities include:
collaborating with staff and parishioners
in planning liturgical music for four week-
end Masses, other parish celebrations;
directing cantors, instrumentalists; pas-
toral staff member. Requires proficiency
in piano and conducting, knowledge of
Catholic liturgy, and strong organizational
skills. Relevant undergraduate degree
preferredadvanced degrees welcome.
Compensation commensurate with expe-
rience, education. Detailed job description
available upon request. Send rsum with
references ASAP. HLP-6998.
Musician Available
Accompanist Available. Santa Barbara,
CA. Fourteen years of experience in
piano and organ congregation/choir ac-
companiment, familiar with all areas of
Catholic liturgy. BM, piano performance,
University of Evansville (Evansville, IN);
MM, piano performance, University of
Missouri Kansas City Conservatory; DMA
collaborative piano in progress. Rsum
and references on request. Contact via
e-mail/phone at marg21@ku.edu or (812)
459-4346. HLP-6984.
Resources
FreeCopies of Old Pastoral Music
Magazines. Almostevery issue since the
beginning of NPM is available at $2 a copy
to cover postage. Reduced postal rates pos-
sible for multiple copies. If youare in the
Baltimore, MD, area, arrangements may be
made to pick themup for free. To request
specific issues, e-mail pastoralmusicmag@
yahoo.com. HLP-7003.
More Hotline
Check the NPM website for additional
Hotline ads and for the latest openings
and available resources: http://www.npm.
org/Membership/hotline.html.
August-September 2007 Pastoral Music
7/16/2007 10:33:21 AM
 The Collegeville Composers Group
Carol Browning, Catherine Christmas,
Cyprian Consiglio, O.S.B. Cam.,
Paul Ford and Paul Inwood

. . . the collection is deeply pastoral in the models it provides for music to open/close
the celebration, to proclaim Gods Word, and to draw communicants to/from holy
communion. I strongly commend the Collegeville Composers Group for producing
prayerful song in the Psallite project.
Fr. Jan Michael Joncas, University of St. Thomas, St. Paul, Minnesota

Wait no longer! Finally, forty-five years after Vatican II, there is a new music
program rooted in the liturgical antiphons and psalms of the Roman Missal.
Psallite provides a means for you to sing the essential elements of the Mass:
entrance, responsorial, and communion.

Psallite is the only music program of its kind; Liturgical Press is the only
publisher to undertake a project of this magnitude. Psallite provides at least
three songs for each Sunday and Solemnity of the liturgical year, as well as
for sacramental celebrations and funerals. Psallite clearly reflects the role
of liturgical music envisioned in the General Instruction of the Roman Missal
and in various documents on liturgical music.

The antiphon/psalm-based music of Psallite allows your congregation, cantors,

and choirs to sing the Mass and its liturgical texts instead of simply singing
at Mass.

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 Reviews
Organ Recitative
An Introduction to the Organ Music of
Louis Vierne. Selected, annotated, and ed-
ited on three staves by Rollin Smith. Wayne
Leopold Editions, WL600210, $29.00. The
edition will be helpful to beginning and
seasoned players alike. The Carillon de
Westminster is the final piece in this
graded collection of seventeen of Viernes
easier pieces for organ, the majority of
which come from Op. 31 (24 Pices en style
libre). All are presented on three staves,
the inner voices are distributed between
the hands, and most notes are fingered
and pedaled. There are liberal notes and
illustrations to aid performance practice
including biographical information, the
Cavaille-Coll organ, style, registration,
the music itself, interpretation, the edito-
rial method, a photo of the composer,
various images and specifications of the
Notre-Dame organ, and a glossary. This
volume is quite a generous introduction
to Viernes organ music.
Organ Music for Manuals Only, Volume
1. Selected and edited by Rollin Smith. Wayne
Leopold Editions, WL600211, $13.00. This
volume is mostly music and includes short
notes about the thirty-seven pieces and
their twenty-eight composers represent-
ing various historical periods and styles,
from the sixteenth century through Ren
and Louis Vierne. A few of the pieces have
fingering suggestions, and many have
registration indications.
Communion Music for Manuals, Set
2. Charles Callahan. MorningStar Music,
MSM-10-828, $10.00. This is another
volume in the very practical Music for
Manuals series. As in the other collections
in the series, the pieces, on one or two
pages, are useful as preludes, postludes,
or extra music and are based on hymn
tunes. Those include: Anima Christi,
Bicentennial (Finest Wheat), Cross of
Jesus, CrusadersHymn (St. Elizabeth and
Schnster Herr Jesu), Drakes Boughton,
Jesu dulcis memoria, Let Us Break Bread,
Non dignus, Picardy, and Song 46.
Pastoral Music August-September 2007
30852_AS 07 Main.indd 45
Standard Wedding Music for Organ.
Compiled and edited by David Sarandon.
Lorenz Publishing Company, 70/1550L,
$15.00. Here are twenty-one pieces, all
on three staves, commonly played for
weddings. The contents are grouped in
two sections: preludes and procession-
als/recessionals. Most are arrangements
of classics such as Jesu Joy, Panis Angelicus,
Canon in D, Schumanns Traumerei, Han-
dels Water Music, Hymn to Joy, Wagners
Bridal Chorus, Mendelssohns Wedding
March, and Purcells Trumpet Tune and
Trumpet Voluntary. A few original organ
compositions are included: Dale Woods
Song in the Night and Processional for a
Joyful Day and Gordon Youngs Prelude
in Classic Style.
Heather Martin Cooper
Choral Recitative
All the selections reviewed here are from World
Library Publications.
Praise God in His Holy Dwelling. Jan
Vermulst. SATB choir, cantor, congregation,
two trumpets, keyboard. 007991, $1.40. This
is an attractive and accessible arrangement
of Vermulsts popular setting of Psalm
150. The textual adaptation was done by
Omer Westendorf, who has also provided
an alternative text with more inclusive
language. The choral writing uses bright,
openly spaced voicings with the melody in
the alto part, and it is nicely complemented
by the trumpet part.
Vocavi Nomine. Nicholas Palmer. SATB
choir, cantor, congregation, guitar, keyboard
(opt. woodwinds and strings). 008795, $1.20.
Palmer has crafted a simple and engaging
setting of a text he has adapted from Isaiah
43 (I have called you, you are mine . . .).
An ostinato choral refrain (sung in either
Latin or English) with a sturdy and predict-
able harmonic progression provides the
background for the solo cantor verses.
In the Presence of the Angels. Paul Inwood.
Unison choir, cantor, congregation, guitar,
keyboard. 006276, $1.15. This setting of
Psalm 138 for unison voices incorporates
the proper antiphon for the Fifth Sunday
of the Year (Cycle C). The unison writing
creates a very clear and direct presentation
of the text. It is harmonized modally with
interesting shifts of tonal centers.
Lamb of God. Robert Kreutz, adap. and arr.
Rory Cooney. SAB choir, cantor, congrega-
tion, flute, guitar, keyboard. 005266, $1.15.
Cooney weaves melodic fragments from
Robert Kreutzs beloved Gift of Finest
Wheat into a setting of the Lamb of God.
The instrumental obbligato is especially
attractive.
O God of Loveliness. Arr. Nol Goemanne.
SATB choir, a cappella. 007941, $1.15.
Goemanne uses a sturdy Silesian tune
(Crusaders Hymn) to evoke the confident
praise and adoration found in the text by
St. Alphonsus Liguori. The choral writing
is accessible throughout, with interest
sustained by a key change for the second
verse.
Ave Regina Caelorum. Arr. Robert W.
Schaefer. SSAATBB choir, a cappella. 008793,
$1.30. Schaefers setting is unified with
alternating ostinati (TBB or SAA) in
counterpoint with various segments of
the chant tune in the other voices. Skillful
re-presentation of a few basic elements cre-
ates a variety of beautiful choral textures.
Ensembles with enough singers to cover
the divisi writing will find the piece to be
accessible and rewarding.
For the Healing of the Nations. Brian
Bisig. SAB choir, congregation, flute, guitar,
keyboard. 008805, $1.20. Bisigs original
hymn tunewith an alluring change in the
metric treatment of the final linessings
well and will be learned quickly by
both the congregation and the choir; the
three-part setting is perfect for smaller
ensembles. Fred Kaans renowned text is
timelier than ever.
Praise the Lord, You Servants. Michael
Perza. Two-part choir, keyboard. 008772,
$1.25. This is an excellent motet for
smaller ensembles with a text that Perza
has adapted from Psalm 113. Rhythmic
45
7/16/2007 10:33:27 AM
 energy abounds throughout the choral
writing and the piano accompaniment.
The points of imitation provide opportuni-
ties for changes of timbre (e.g., treble vs.
bass voices or mixed vs. equal voices).
Tower of Strength. Kevin Kelly. SAB
choir, cantor, congregation, guitar, keyboard.
008329, $1.30. Here is a lively praise song
with compelling syncopations and rhyth-
mic energy. The antiphons are scored in
SAB close voicing; alternate textures (solo,
duet, SAB) provide variety in the verses.
70 x 7. Ken Macek. SATB choir, descant, cantor,
congregation, oboe, guitar, keyboard. 008238,
$1.30. Maceks text, based on Matthew
18:2135, speaks of our need to forgive
each other. The antiphon-verse structure
features a variety of choral textures that
sustain interest. The oboe descant adds to
the poignancy of the musical setting.
Rudy Marcozzi
Books
The Liturgical Flutist:
A Method Book and More
Denise La Giglia and Anna Belle
OShea. GIA, 2005. G-6447. 272 pages,
spiral bound paperback with CD. $39.95.
La Giglia and OShea have synthesized
significant personal wisdom and experi-
ence with insights garnered from work-
shop presentations to produce a volume
that focuses on the particular challenges
and opportunities for the flutist in a litur-
gical setting.
The Liturgical Flutist is by turns a flute
method book, a music theory tutorial,
a guide to improvisation in a liturgical
context, an introduction to liturgical
principles, and a resource for cultivating
musical spirituality. The book is organized
in three sections (aimed at the novice,
experienced, and advanced liturgical
flutist respectively), with each section
giving incrementally deeper attention to
technical issues, music theory, and the
liturgy. Musical examples are carefully
chosen from the standard repertoire but
serve also as models of various musical
styles and structures. The accompanying
CD has eighty-eight tracks that are closely
integrated with the text.
Section I covers flute basicsposture,
breathing, warm-ups, and so on. Music
directors will benefit from the discus-
sion of intonation problems (and the
clear examples given on the CD). Basic
46
30852_AS 07 Main.indd 46
harmonic theory lays groundwork for
improvisation, while an overview of the
Mass anchors further discussion of liturgy.
Section I concludes with an introduction
to the important skills of reading from
keyboard scores, guitar lead sheets, and
instrumental accompaniment books as
well as transposing parts.
Section II considers the variety of en-
semble situations that might incorporate
a flutist. The liturgical focus of this sec-
tionthe role of the flutist in non-Eucha-
ristic liturgical settingsis a highlight of
the book. Readers are challenged to step
beyond the Sunday framework and ex-
plore ways in which a skilled player might
enhance assembly singing on occasions
when the default might be a music-less
celebration.
Section III offers an accessible ap-
proach to developing improvisational
skills through attention to harmonic,
melodic, and rhythmic factors as well
as to tonal expressiveness. Related ear
training exercises are provided on the
CD. The book concludes with several
helpful appendices, including repertoire
lists, fingering and trill charts, a glossary,
and a discussion of the delicate matter of
contributed versus compensated talent.
The Liturgical Flutist is distinguished
by its constant emphasis on the develop-
ment of the flutist as a liturgical musician.
Each chapter begins with a reflection that
frames the technical material in a spiritual
context. Quotes found throughout the
text are drawn from a variety of sources
that will appeal to a variety of spiritual
temperaments, including documents
on the liturgy and notable authors and
composers from Haydn to Hovda.
A book of this scope cannot give equal
attention to all matters. It would be helpful
to flesh out topics (such as voice leading)
that are touched on only indirectly. Inter-
nal referencing could be strengthened;
for instance, a Section II reference to the
threefold judgment in choosing music
could be lost on someone who did not
read Section I. The use of the term des-
cant to designate the improvised line is
perhaps a bit limiting since, particularly
in an ensemble setting, instrumentalists
might be called on to play more of an ac-
companying figure. That being said, the
principles in this book will certainly equip
a player to develop such a part.
The Liturgical Flutist is an ambitious
project that should serve as a welcome
and valuable resource for flutist and music
director alike. It could work well in tandem
with other recent publications such as
Liturgical Ensemble Basics (Pastoral Press,
2005) and The Musicians Soul (GIA, 1999).
This book may inspire a veteran player to
push further and deeper, or it may unlock
interior doors for those inclined to music
ministry but uncertain about how to start.
For the director, it may provide a blueprint
for working closely with flutists (and other
musicians) to develop their musical and
liturgical skills.
David Brinker
Understanding Sacraments
Today
Revised edition. Lawrence C. Mick. The
Liturgical Press, 2006. ISBN-13: 978-0-
8146-2925-3. 144 pages, paperback. $14.95.
Here is a useful book. The stated goal
is helping people to readily understand
the sacramental signs. Lawrence Mick
delivers. He does this for the reader by
approaching each sacrament on its own
terms.
The book is short and easy to read.
The information is richly compact. It is
clearly evident that the author has a good
understanding of the ritual books, church
history, sacramental theology, and faithful
pastoral practice. And although there are
similarities in the chapters, each is just a
little different to suit the sacrament under
discussion.
The structure of the book is simple.
After a must-read preface of only five
pages, Father Mick devotes a chapter to
each sacrament. He usually starts with
Vatican Council II, naming what was called
for in the reform. There is a brief look at
history (for all sacraments but Eucharist).
He then treats the structure of the rite,
theology, good pastoral practice, as well as
questions and misunderstandings people
have about that sacrament. He looks to the
future for confirmation, penance, and holy
orders. Each chapter ends with discussion
questions.
There are several assets that make this
book valuable. First, in the preface, the
author lays out eight basic principles for
understanding all sacraments. This alone
is worth the price of the book. Understand-
ing and implementing them is worthy
lifetime work. Second, he uses proper
terms, titles, and concepts throughout
and then, without being cumbersome,
immediately defines or puts the techni-
cal language in simple words or gives an
example. He identifies and then answers
common misconceptions or concerns
that parishioners raise. Third, he walks
the reader through each sacrament in
August-September 2007 Pastoral Music
7/16/2007 10:33:28 AM
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30852_AS 07 Main.indd 47 7/16/2007 10:33:29 AM

 logical ways. For example, in Eucharist,
he moves rite by rite, action by action,
from gathering to dismissal, naming the
elements and exposing their purpose
and intent. In anointing of the sick, he
uses broader strokes to paint pictures for
pastoral care of the sick and rites for the
dying. Finally, he provides questions at
the end of each chapter that go beyond a
mere remembering of information. They
are true discussion questions that may be
used by a single reader but would foster
fruitful group conversation.
In addition, there are wonderful nug-
gets sprinkled throughout the book that
could provide rich discussion or home-
work assignments. Here is one from page
52: It is important to remember that the
liturgy is meant to be the source and sum-
mit of our spiritual life, not the whole of
it. He then goes on to talk about personal
prayer, preparing for liturgy, good celebra-
tion, and daily life.
I like the book so well that I intend to
use it in my work. I also want to suggest
how it might be helpful for others in
pastoral ministry. On a basic level, it can
be used as a primary text for adult learn-
ing and for basic catechist or lay ministry
formation. A good teacher, who knows
the broad tradition well, can expand, fill
in blanks, and be more precise on areas
of interest and need than is possible in a
brief book.
On an advanced level, it can be used
as adjunct text in deacon formation or
liturgy specialization. In these instances,
of course, the primary book would be the
ritual book with its introduction, pastoral
notes, and liturgical celebrations.
Using the eight basic principles found
in the preface, the teacher or staff member
could help the learners explore how those
principles are evident in parish celebra-
tions. The liturgy committee, musicians,
and sacramental formation teams could
use them to evaluate current praxis and
then devise recommendations for suitable
next steps.
Individual chapters also have value.
A catechumenal catechist has a succinct
source to refresh herself on some aspect
of one or another of the sacraments. A
mystagogical catechist has some good
information for guiding conversation on
the impact of a rite recently celebrated.
Preachers and catechists can use the
discussion questions to foster fruitful re-
flection. A presider can sharpen his focus
on what is being celebrated and what is
at stake. The liturgy committee could use
the chapter on Eucharist, for example, as
first-step formation for new members.
48
30852_AS 07 Main.indd 48
Pastoral musicians have a friend in
this book. Each chapter can help connect
the music and the music ministry to suit-
able service of the liturgy through easily
understood reflection on the sacraments.
For those rites not regularly celebrated
confirmation, penance, and anointinga
quick review of a chapter during the final
preparation steps can help the music team
do its job of fostering good and faithful
celebrations that build up faith.
Eliot Kapitan
Priestly Ministry
in Multiple Parishes
Katarina Schuth. The Liturgical Press,
2006. ISBN-13: 978-0-8146-1829-5; ISBN-
10: 0-8146-1829-4. 256 pages, paperback.
$19.95.
The future is now. Today, conversations
among Catholics do not get very far before
the impact of the priest shortage comes
up for discussion. In some parts of the
county, the discussion is sparked by the
loss of a parochial vicar and the realization
that another will not be assigned or the
surprise at the small number of men being
ordained. In other parts of the country, the
conversation focuses on merging parishes,
closing parishes, and concern for the pos-
sible loss of a Catholic presence in rural
areas.
Priestly Ministry in Multiple Parishes is
a sociological and pastoral examination
of the phenomenon of priests serving
multiple parishes. The book addresses the
impact of this ministry on the priest and
the local church. The research is thorough
and fascinating, and it offers insight for
the whole of the Church in the United
States.
Katarina Schuth, who authored the
research as well as the book, has done a
tremendous work in the analysis of all
aspects of the life and work of priests who
serve multiple parishes. Schuth combines
maps, tables, and statistical summaries
with narrative responses and the priests
own words to tell the story of an emerging
model of ministry that has changed the
way many pastors and Catholics experi-
ence parish life. It is evident that their
experience will serve as a starting point
for more and more dioceses adopting the
clustered-parish model.
While some of the statistics will not
come as a surprise, i.e., that clustered
parishes tend to be small, it is quite sur-
prising that priests who serve more than
one parish serve 44 percent of all parishes
in the United States. While priests are
honest about the many challenges the
ministry posese.g., time spent on the
road between parishes (35 percent drive
between 100 and 500 miles a month),
the frustration of feeling that they dont
give enough to any of the parishes for
which they are responsible, and a lack
of resources to get the job donewhen
they were asked about the level of per-
sonal satisfaction, 93 percent of the priests
surveyed describe themselves as happy.
Though ministry to multiple parishes has
a twenty-year history in some dioceses,
and a growing number of seminarians will
find themselves working in such ministry,
there is still little to no formal preparation
or training in seminary or in diocesan
programs for this type of service.
What is most striking about this re-
search is that the issues the priests name
as most concerning and as creating the
biggest obstacles to success have solutions
that are well within the reach of local
bishops and the local church. All of the
priests identify a desire to learn how to
minister more effectively through ongoing
professional development and the wisdom
of the experience of other priests serving
multiple parishes. There is consensus
that their own pastoral ministry would
be more effective if they could develop
pastoral teams of lay people who have
been educated and prepared for ministry.
They recognize that lay formation requires
a significant financial investment and can-
didates willing to travel far from home for
theological education. Because this type of
formation is crucial to the future of these
parishes, they hope the local church can
be more creative in developing programs
to meet the need. There is an expressed
concern that many dioceses lack appropri-
ate structures for supporting ministry to
multiple parishes. By way of example, in
some dioceses, the priests must find their
own substitutes for liturgy if they seek
time for vacation, retreat, or continuing
education. Given the importance of good
mental and physical health, the priests
suggest that the diocese be more active in
assigning priests through regular rotation
to serve as substitutes so that the priests do
not have to spend precious time finding
their own substitutes.
All of the priests comment on how
much the appreciation and support of
their local bishop means to them. Some
recognize that many of the bishops, who
come from urban dioceses or who had
limited experience as pastors, do not
really understand the nature of ministry
in multiple parishes. They suggest that
August-September 2007 Pastoral Music
7/16/2007 10:33:30 AM
 bishops visit more regularly, maybe even
spend a few days working with the priests

Dies Domini
and speaking with the people about their
experiences.
As one moves toward the end of the
book, one cannot help but wonder what
a sequel to this book might report. Will it
be the story of the death of the Church in
rural communities and a diminishment Sabbath Making for Liturgical Musicians
of a Catholic presence across the United
States for failure to read the signs of the
times? Alternatively, will it be the birth
of a new experience of parish life and
ministry rooted in the tradition of the
early Christian communities? Those early
communities responded to the needs of a
rapidly expanding and changing Church
with confidence in the presence of the
Holy Spirit and new vision for living the
Gospel.
Susan Timoney

Homilies for Weekdays, Year I

Homilies for Weekdays, Year II

Don Talafous, osb. The Liturgical Press,

2005 (Year II) and 2006 (Year I). Year I:
ISBN 13: 978-0-8146-3031-0. Year II: ISBN
13:978-0-8146-3032-7. Each book 232
pages, paperback. $15.95 each.

Since brevity is the soul of wit, accord-

A Fall Retreat for Directors of Music Ministry
ing to Shakespeare, those who dare to step
into the pulpit in order to break open the October 1517, 2007
Word on Sundays are often reminded,
urged, and cajoled into being brief but
Siena Center, Racine, Wisconsin
insightful. An even more daunting task is
given to those involved in offering a few Sponsored by the NPM-DMMD Board of Directors for all parish directors
words on the weekday readings. Many of music ministriesfull-time, part-time, or volunteer. DMMD members
times those in attendance at a daily Mass and non-members are welcome to register.
are rushing off to work or are on their
lunch break and have little time to spare. Retreat Leaders
Also, the fact that a persons spirituality
would include the sacrifice of precious
time in order to attend a daily liturgy
demands that the homilist takes the use
of this time seriously. One memorable
example of the impact of offering a simple
daily reflection came to this reviewer while
on retreat at the Abbey of Gethsemani in
Trappist, Kentucky. The preacher gave
a brief homily lasting only a couple of
minutes, but it was packed with enough Bishop Robert F. Father Paul Colloton, Mr. Daniel Girardot, St.
food for thought to last the whole day. Morneau, Diocese of op, NPM Director Therese Church, Austin,
Green Bay auxiliary, of Continuing Texas, DMMD Board
The economy of words helped to focus
poet and author Education member
attention on what was said. As one who
attempts to practice the art of preaching Registration Information
on a daily as well as weekly basis, I find it
apparent that it takes even more time and National Association of Pastoral Musicians
effort to distill ones thoughts into a few 962 Wayne Avenue, Suite 210, Silver Spring, MD 20910-4461
lines than it does for a longer discourse.
Phone: (240) 247-3000 Web: www.npm.org
This is where Homilies for Weekdays
is very helpful in offering some creative
Pastoral Music August-September 2007 49

30852_AS 07 Main.indd 49 7/16/2007 10:33:34 AM

 suggestions for what a homilist might say
about the daily readings of the two-year
Lectionary for Weekdays cycle. Don Tala-
fous, osb, who serves as alumni chaplain
for Saint Johns University, Collegeville,
Minnesota, has a background in Scripture
and systematic theology, and this exten-
sive compilation for each day is a result of
his many years of experience in preparing
homilies.
Each volume is organized very simply
into five chapters: Season of Advent, Sea-
son of Christmas, Season of Lent, Season of
Easter, and Ordinary Time. There is a brief
reflection (averaging eighteen to twenty
lines) written on a popular and pastoral
level for each day. Each listing begins
with naming the day within the season,
a brief descriptive phrase, the citation of
the Scripture readings including the psalm
and the Lectionary number for that Mass.
The reflection which follows is always
situated within the season and the daily
readings and includes realistic examples
which help to connect the Scriptures with
examples from daily living. Talafous also
places his creative reflections within the
context of the readings which have pre-
ceded the day and/or those which will
follow.
Authors from Shakespeare to C. S.
Lewis and T. S. Eliot are often cited to
help illustrate the focus for the day. For
example, for Wednesday of the First Week
of Advent, Year I, we read: C. S. Lewis says
that God invented eating. Both readings
today speak of it. Isaiah presents good and
plentiful food as a sign of the time of the
Messiah. Jesus fulfills this expectation by
multiplying loaves and fish for the crowd.
Satisfying our desire for good and neces-
sary nourishment is an obvious way to
indicate what God wants to do for us.
Often, descriptive and colorful ex-
amples are used to highlight a text. Com-
menting on the reading from the book of
Numbers for Monday of the Eighteenth
Week in Ordinary Time, Year I, he writes:
The book is about the Israelites wander-
ing in the wilderness or desert before
finally entering the Promised Land. They
are shown, as in todays first reading, as a
crowd of grumpy old men, grumpy old
women, grumpy kids. . . . The Eucharist
reminds us to look for God in this life we
live, in this place, with these people.
These two volumes will be an asset in
the library of anyone who is charged with
the task of preparing a short and meaning-
ful reflection on the daily Lectionary cycle.
Talafous offers consistently good daily
reflections and realistic suggestions and is
sensitive to the social justice dimension of
50
30852_AS 07 Main.indd 50
the Scriptures. These pages live up to the
testimonial on the cover of Year II which
describes them as a treasure of short
messages of hope in simpler language that
moves the heart. For those who homilize
regularly it is an insightful primer. For
those who pray daily it offers illuminat-
ing reflections. Both will be inspired by
keeping it close by.
Victor Cinson
A New Song for an Old World:
Musical Thought in the Early
Church
Calvin R. Stapert. Eerdmans, 2006.
ISBN 978-0802832191. 246 pages, paper-
back. $18.00.
This wonderfully accessible book
introduces readers to an early Christian
world of song and prayer, notes some of the
points of contact and friction between early
Christian and pagan musical cultures, and
invites Christians to a critically apprecia-
tive stance as they engage the cultures of
their own time. Rich in quotations from
early Christian writers, this book will be
savored, pondered, and prayed over; used
in catechesis and mystagogy; and shared
with friends and colleagues.
Stapert reminds the reader that pre-En-
lightenment music was connected with the
whole of living, that singing ran through
work and festival and was found in every
aspect of urban and rural society. This
opening observation leads into a develop-
ment of the image, found in Jewish and
Christian Scriptures, of the believers life as
a song of praise which responds to Gods
faithful love. Succeeding chapters note
major themes in early Christian writing
about Christian and pagan song, setting
four principal authors in the context of
major developments in their own centu-
ries: Clement of Alexandria and Tertullian;
Ambrose and Chrysostom. Though these
writers offer differing evaluations of the
tools and riches of the dominant pagan
culture, they all insist that the Christians
imagination and practice must be radically
different from that of the unbelieving
neighbor. Stapert then presents the reader
with Augustines challenging reflection
on the love of God and on the danger of
loving beautiful voices more than Beauty
itself. A final chapter points to some ques-
tions which arise for our own living. The
first appendix gives some examples of
how ancient hymn texts might be used
in morning and evening prayers.
Pagan ritual music, Stapert says, had
three purposes: producing good omens,
warding off evil demons or the anger of
the gods, and cajoling and enticing the
gods into action on behalf of worshipers.
Christian music, in contrast, does not try
to get Gods attention, for Christians are
convinced of Gods active, loving presence.
The basic song is Gods own, heard in the
harmony of the universe; the new song is
Christ, the Word Incarnate. Christians sing
Christs song, in the Spirit, giving thanks
for the salvation which they experience.
This song is lived, treasured in the heart,
and sung out loud at home, at work, or in
liturgical prayer. It unites Christians lives
into a coherent whole, giving them unity
with each other, the saints and angels, and
a renewed creation in Jesus Christ. The
harmony of Gods own life, then, under-
lies the music of creation. The harmony
of well-tuned human life is best heard in
the Word Incarnate, the new song whose
life gives praise to God. As Christians
learn to sing that song with heart and
voice, they are formed by Christs song,
and their lives are brought into harmony
with the new creation of Gods reign.
The Church Fathers, Stapert shows,
insist that music teaches either harmoni-
ous or discordant behavior, developing a
society of simplicity and honesty or greed
and deception. Lifting the voice in praise,
whether at work or at prayer, shapes the
persons outlook and behavior, helping the
singer to hear the music of the Creator in
the creation and cooperate with it.
In the third century, both Clement
who believed that good could be found
in pagan culture, for God is at work in all
peopleand Tertullianwho was suspi-
cious of all pagan culture because of its per-
vasive idolatry and immoralityurged
all Christians to sing psalms and prayers
in their homes and not just in church.
In fourth-century Antioch, Chrysostom,
seeking to build a Christian society in a
city and empire full of non-Christian influ-
ences, urged Christians to celebrate mar-
riage with songs of joyful reverence rather
than with wedding feasts characterized
by licentious songs, tales of immorality
and infidelity, conspicuous consumption,
and forgetfulness of the poor. Christians,
indeed, want to form marriages of joy-
ful fidelity, caring for relationships with
family and Church. Dont begin badly,
he warned, surrounded by references to
a different sort of married life, but begin
well and form a life of devotion and love.
Ambrose, steeped in the dominant impe-
rial culture, adapted the popular rhythms
used in Arian hymns both for psalmody
and for new hymns which unified and
August-September 2007 Pastoral Music
7/16/2007 10:33:35 AM
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30852_AS 07 Main.indd 51 7/16/2007 10:34:59 AM
 gave energy and courage to his often
beleaguered Christian community. All of
these saints urged: Learn both hymns and
psalms; sing always; and let Christs song
be found in every part of your life!
Stapert then turns to Augustine, the
great lover of music, who calls the reader
to a deeper awareness, letting the focus of
heart and mind stay always on God, who
is Beauty and the source of all beauty.
Dont be distracted by beauty of voice or
song, Augustine warns, but stay attentive
to God! Sing with all your heart, to God!
This wonderful book points out the
importance of song for the formation
of life, family, and relationships, and it
underlines the unity between liturgy and
the rest of life as it offers short passages
about singing with all of ones life, not
just with upraised voice. It raises practical
questions about Christians relationships
with non-Christian and non-believing
cultures which carry different assump-
tions about God, world, marriage, and
social responsibility. With the Fathers, it
encourages us to let ourselves be formed
by songs of praise, responsibility, love, and
thankfulness. This challenging book will
be helpful for prayer and reflection, even
as it opens our history and introduces the
reader to new friends and lovers of music.
I recommend it to anyone who wants to
learn more about prayer and music.
Jerome M. Hall, sj
About Reviewers
Mr. David Brinker is assistant director of
the Museum of Contemporary Religious
Art, Saint Louis University, St. Louis, Mis-
souri, and a freelance liturgical musician.
He is currently pursuing graduate studies
at Aquinas Institute of Theology.
Rev. Victor Cinson is pastor of St. Gabriel
Parish in Minerva, Ohio, and St. Francis
Xavier in Malvern, Ohio. He is a member
of the Diocese of Steubenvilles Liturgi-
cal Commission; he is also a member of
the Board of Directors of The Liturgical
Conference (Evanston, Illinois).
Ms. Heather Martin Cooper is the director
of liturgical music at St. Monica Parish, St.
Louis, Missouri.
Rev. Jerome M. Hall, sj, teaches in the
Department of Word and Worship at the
Washington Theological Union, Wash-
ington, DC.
Mr. Eliot Kapitan, a longtime member of
NPM, is the director for worship and the
catechumenate in the Diocese of Spring-
field, Illinois.
Mr. Rudy Marcozzi is an assistant profes-
sor of music theory at the Chicago Musical
College of Roosevelt University, Chicago,
Illinois.
Dr. Susan Timoney is vice president of
the Education-Parish-Service Network,
Washington, DC.
Publishers
Eerdmans Publishing Co., 255 Jefferson
Avenue, SE, Grand Rapids, MI 49502. (800)
253-7521; web: www.eerdmans.com.
GIA Publications, 7404 S. Mason Avenue,
Chicago, IL 60638. (800) 442-1358; web:
www.giamusic.com.
Wayne Leupold Editions, 8510 Triad
Drive, Colfax, NC 27235. (800) 765-3196;
web: www.wayneleupold.com.
Lorenz Corporation, 501 E. 3rd Street, PO
Box 802, Dayton, OH 45402-2165. (800)
444-1144; web: www.lorenz.com
MorningStar Music Publishers, 1727
Larkin Williams Road, Fenton, MO
63026-2024. (800) 647-2117; web: wwww.
MorningStarMusic.com.
World Library Publications, 3708 River
Road, Suite 400, Franklin Park, IL 60131-
2158. (800) 566-6150; web: www.wlpmusic.
com.

Models of the Eucharist

A one-day professional development seminar for
clergy, pastoral musicians, catechetical leaders, youth
ministers, leaders of worship, and all pastoral ministers

Presented by Rev. Msgr. Kevin W. Irwin, STD

Dean, School of Theology & Religious Studies, The Catholic University of America

Facilitated by Dr. J. Michael McMahon

President, National Association of Pastoral Musicians

Monday, September 17, 2007

Aquinas Institute of Theology, St. Louis, Missouri

More information from:

National Association of Pastoral Musicians
962 Wayne Avenue, Suite 210 Silver Spring, MD 20910-4461
Phone: (240) 247-3000 Web: www.npm.org

52 August-September 2007 Pastoral Music

30852_AS 07 Main.indd 52 7/16/2007 10:35:09 AM

 Bookstore
Publications and other resources available from the National Association of Pastoral Musicians

Liturgy Formation Resources Professional Issues

Ministries in Sung Worship: NPM Workbook: Job Descriptions, Contracts, Salary.
A Documentary and Pastoral Resource Revised Edition, 1996
Documentation from official instructions and ritual books A method for developing a contract, job description, and an
and pastoral applications for each musical ministry. appropriate salary for a pastoral musician, with sections for
J. Michael McMahon and Gordon E. Truitt the pastoral musician, parish, and diocese. Virgil C. Funk
Item #LFR-5...........Single copy...................................... $15.00 Item #PRO-4.........Single copy..................................... $15.00

Psalmist & Cantor: Sample Contract

A Pastoral Music Resource
A collection of practical articles drawn from Pastoral Music
and Liturgical Singer. Various authors
Item #LFR-6...........Single copy........................................ $7.00
The Choir in the Liturgy:
A Pastoral Music Resource
Practical advice for choirs and choir directors about the
role of the choir in liturgy, rehearsals, and how to form
childrens and youth choirs. Various authors
Item #LFR-8..........Single copy........................................ $7.00
Why We Sing Pamphlet
Item #LFR-1..................Packet of 50....................................... $7.50
Keep Silence Pamphlet
Item #LFR-2.................Packet of 50....................................... $7.50
The sample contract found in the NPM Workbook.
Item #PRO-5 ..............................Single copy........................................ $2.00
Work and Remuneration: A Statement and Worksheet
Because music is integral to liturgy, the employment of
well-trained directors of music ministries is vital, and the
Church has a moral obligation to pay its musicians fair and
equitable salaries. Director of Music Ministries Division
Item #PRO-6.........Single copy........................................ $5.00
Hiring a Director of Music Ministries: is ed!
A Handbook and GuideRevised Edition Rev
This helpful booklet makes the task of hiring the right
director of music ministries easier and more productive by
offering tested and proven suggestions. Director of Music
Ministries Division, Professional Concerns Committee
Item #PRO-8........Single copy........................................ $6.00

Singing Our Worship National Certification Standards is ed!

A Pastoral Musicians Guide to the General Instruction 2000 for Lay Ecclesial Ministers Rev
with American adaptations. Standards for lay ecclesial ministry approved by the USCCB
J. Michael McMahon Commission on Certification and Accreditation. Includes
Item #LFR-3..............Single copy........................................ $4.00 standards for Certified Director of Music Ministries. Eng-
....................................10 or more copies.................... $3.50 each lish/Spanish edition.
Item #PRO-7........Single copy...................................... $14.95
The Way We Worship
Pastoral Reflections on the General Instruction of the Roman Catholic Connections to Music
Missal.
Catholic Connections to Music
in the National Standards for Arts Education
in the National Standards for Arts Education
Various authors A genuine, comprehensive, and qualitative vision for music
Item #LFR-4...........Single copy........................................ $7.00 education in a Catholic school and parish setting.
Free download from www.npm.org
Music Education Division

ew!
National Association of Pastoral Musicians

Item #MED-3 ......Single printed copy.......................... $5.00

Blessings for Musicians N
NPM Publications 2006 Washington, DC

Texts and ideas to celebrate the gifts, contributions, and min-

istry of pastoral musicians. Compiled by Gordon E. Truitt
Item #LFR-9..........Single copy........................................ $5.00

Magazine Back Issues Liturgical Documents

Back issues of Pastoral Music are excellent resources for clergy, Built of Living Stones
musicians, and those who prepare liturgy. Guidelines from the USCCB on art, architecture, and wor-
ship.
Pastoral Music ............Single copy.................................. $7.00 Item #LD-1..............19 copies............................... $11.95 each
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The Music Documents:

Music in Catholic Worship & Liturgical Music Today
The 1983 revised text of Music in Catholic Worship and a 1982
statement published ten years after the original MCW.
Item #LD-6..............Single copy........................................ $5.95

Pastoral Music August-September 2007 53

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 General Instruction of the Roman Missal
The official English translation with adaptations for the
U.S.A.
Item #LD-4 ............Single copy...................................... $12.95
.................................1024 copies........................... $10.95 each
.................................25+ copies................................. $8.95 each
Introduction to the Order of Mass
A Pastoral Resource of the Bishops Committee on the
Liturgy.
Item #LD-5 ............Single copy........................................ $9.95
.................................1024 copies............................. $8.95 each
.................................25+ copies................................. $7.95 each
The Hovda Lectures
Pastoral Resources
These resources from other publishers are also available from
NPM. Order them today to enrich your ministry.
Cantor Basics, Revised Edition
Answers 112 of the most common questions about the min-
istry of cantor, from recruitment to technical issues. Pastoral
Press. Jim Hansen, Melanie Coddington, Joe Simmons
Item #PR-1..................Single copy................................ $14.95
Handbook for Cantors
Updated approach to the roles, skills, and spirituality of the cantor.
LTP. Diana Kodner
Item #PR-2........................................Single copy................................ $10.00

Childrens Choir Basics

Father Robert Hovda (19201992), a presbyter of the Diocese of Fargo,
A handbook for childrens choir directors, with resources for planning,
North Dakota, was a leader of the liturgical movement in the United developing, and rehearsing a childrens choir. Pastoral Press.
States and a strong voice for truth, beauty, and compassion in church David Nastal
and society. NPM honors Father Hovdas life and ministry in a series Item #PR-3........................................Single copy................................ $11.95
of lectures presented at its national conventions. The volumes in this
collection present the reflections of leading pastoral theologians and Choir Director Basics
musicians on significant aspects of liturgical life and practice and on Techniques for recruiting, rehearsals, choral sound, ritual celebrations,
key documents of the liturgical renewal. and administrationfrom an expert in the field. Pastoral Press.
Oliver Douberly
Toward Ritual Transformation (Hovda Series I) Item #PR-4........................................Single copy................................ $14.95
Remembering Robert Hovda: Essays challenging us to
continue the pilgrimage toward beauty and justice in Choir Prayers
liturgy. Liturgical Press. Prayers to help choir members focus on the liturgical seasons during
Gabe Huck, Robert Hovda, Virgil Funk, J. Michael Joncas, Nathan weekly rehearsals. Pastoral Press. Jeanne Hunt
Mitchell, James Savage, and John Foley, sj Item #PR-5........................................Single copy.................................. $7.95
Item #PR-11..........Single copy...................................... $15.95
More Choir Prayers
Singing Faith into Practice More seasonal prayers to deepen a choirs understanding of the liturgical
Essays in Honor of Robert W. Hovda Series II seasons. Pastoral Press. Jeanne Hunt
Six pastoral scholars reflect on the impact of Vatican IIs Constitution on Item #PR-6........................................Single copy.................................. $7.95
the Sacred Liturgy on liturgy and other aspects of Church life.
Gerard Austin, op, Joyce Ann Zimmerman, c.pp.s., Jerome Hall, sj, Cath- Prayers of Those Who Make Music
erine Vincie, rshm, Paul Westermeyer, and Edward Foley, capuchin For organists, choir members, cantors, and all who love music: psalms,
Item #LFR-7................................Single copy...................................... $10.00
poems, prayers. LTP. Compiled by David Philippart
Item #PR-7........................................Single copy.................................. $5.00
Sacred Signs: Commitment and Healing ............................................................524 copies......................... $4.00 each
Essays in Honor of Robert W. Hovda Series III ............................................................25+ copies........................... $3.50 each
Five pastoral scholars offer insights into the Churchs
sacramental sense, initiation, marriage, and the anoint- Blessed Are the Music Makers
Sacred Signs:
Commitment and Healing

ing of the sick.

Essays in Honor of Robert W. Hovda

Warm ups for the musicians spiritfor choirs and music

Series III
Paul F. Ford

Paul F. Ford, James M. Schellman, Gordon E. Truitt, Paul

James M. Schellman

ensembles before and after rehearsal and in preparation for

Gordon E. Truitt
Paul Covino
NPM Publications John K. Leonard

Covino, and John K. Leonard worship. World Library Publications. Alan Hommerding
Item #LFR-9................................Single copy...................................... $10.00 Item #PR-8 ..................Single copy................................ $14.95

A Music Sourcebook
A rich anthology of texts that sing the praises of music. LTP. Compiled
by Alan Hommerding and Diana Kodner
Item #PR-9........................................Single copy................................ $18.00

Acoustics for Liturgy

Six professionals offer advice for improving the acoustics of the assemblys
singing. LTP. E. A. Svik, Dennis Fleisher, et al.
Item #PR-10......................................Single copy.................................. $6.00

Order Today! By phone: (240) 247-3000, ext. 26. Online: www.npm.org. E-mail: npmpub@npm.org.
NPM Publications 962 Wayne Avenue, Suite 210 Silver Spring, Maryland 20910-4461
See our websitewww.npm.orgfor shipping charges and return policy

30852_AS 07 Main.indd 54 7/16/2007 10:35:51 AM

 Calendar
Concerts and Festivals
OHIO
Hamilton
September 2329
National Religious Music Week, sponsored by the
National Religious Music Week Association. The
observance to encourage all places of worship to
celebrate and honor the ministry of music and to
showcase their musical talents and traditions before
the community at large. Information by e-mail:
musicweek@aol.com; web: www.religiousmusic
week.org.
Conferences
CONNECTICUT
Windsor Locks
October 912
National Meeting of Diocesan Liturgical Commis-
sions. ThemeLiturgy: The Privileged Place of
Catechesis. Co-sponsored by the Bishops Commit-
tee on the Liturgy and the Federation of Diocesan
Liturgical Commissions; hosted by FDLC Region I
and the Archdiocese of Hartford. Major presenters
include Paul Turner, Carole Eipers, and Rita Thiron.
Liturgy, workshops. Local Liturgy Day, Saturday,
October 13. Place: Sheraton Bradley Airport Hotel,
Windsor Locks, Connecticut. Information: www.
fdlc.org.
CALIFORNIA
San Diego
November 910
Focus on Initiation: Catechumenate. Sponsored by
the Diocese of San Diego in partnership with The
North American Forum on the Catechumenate.
Presenters include Jim Bessert, Mary Birmingham,
and Miriam Malone, snjm. Registration deadline:
October 12. Place: Roman Catholic Diocese of
San Diego Pastoral Center; lodging at Holiday
Inn Express San Diego-Mission Bay. Contact: The
North American Forum on the Catechumenate, 125
Michigan Avenue, NE, Washington, DC 20017-1102.
Phone: (202) 884-9758; fax: (202) 884-9747; e-mail:
info@naforum.org; web: www.naforum.org.
GEORGIA
Atlanta
October 1013
The Initiation Experience: Beginning Plus. Spon-
sored by the Archdiocese of Atlanta in partner-
ship with The North American Forum on the
Pastoral Music August-September 2007
30852_AS 07 Main.indd 55
Catechumenate. Presenters include Kathy Kuczka,
Donna Mostiller, and Tim Piasecki. Afternoon
dialogue sessions in Spanish. Registration deadline:
September 12. Place: Holy Trinity Catholic Church,
Peachtree City; lodging at Holiday Inn & Suites,
Peachtree City. Contact: The North American Fo-
rum on the Catechumenate, 125 Michigan Avenue,
NE, Washington, DC 20017-1102. Phone: (202) 884-
9758; fax: (202) 884-9747; e-mail: info@naforum.org;
web: www.naforum.org.
MISSOURI
St. Louis
September 17
Models of the Eucharist. A one-day seminar
presented by Rev. Msgr. Kevin W. Irwin, STD,
and facilitated by Dr. J. Michael McMahon. Place:
Aquinas Institute of Theology. Information: NPM,
962 Wayne Avenue, Suite 210, Silver Spring, MD
20910-4461. Phone: (240) 247-3000; website: www.
npm.org.
WEST VIRGINIA
Wheeling
September 2730
The Initiation Experience: Beginning Plus with a
Rural Focus. Sponsored by the Diocese of Wheel-
ing-Charleston in partnership with The North
American Forum on the Catechumenate. Presenters
include Michael Clay, Rory Cooney, Gael Gensler,
osf, and Vivian Williams. Registration deadline:
August 30. Place: Paul VI Pastoral Center, Wheel-
ing. Contact: The North American Forum on
the Catechumenate, 125 Michigan Avenue, NE,
Washington, DC 20017-1102. Phone: (202) 884-9758;
fax: (202) 884-9747; e-mail: info@naforum.org; web:
www.naforum.org.
Retreats
WISCONSIN
Racine
October 1517
Dies Domini: Sabbath Making for Liturgical Musi-
cians. A fall retreat for parish directors of music
ministriesfull-time, part-time, or volunteer. Spon-
sored by the NPM Director of Music Ministries
Division for members and non-members. Retreat
leaders: Most Rev. Robert F. Morneau, auxiliary
bishop of Green Bay; Rev. Dr. Paul H. Colloton, op,
NPM director of continuing education; and Mr.
Daniel Girardot, director of liturgy and music at St.
Theresa Church, Austin, Texas. Place: Siena Center,
Racine. Information: NPM, 962 Wayne Avenue,
Suite 210, Silver Spring, MD 20910-4461. Phone:
(240) 247-3000; website: www.npm.org.
Overseas
IRELAND
Dublin and Other Sites
January 28February 4, 2008
Familiarization tour: Land of Saints and Scholars.
Subsidized and inclusive continuing education
program sponsored by Peters Way Choir Tours.
Contact: Peters Way Tours, Inc., 25 South Service
Road, Suite 240, Jericho, NY 11753. Phone: (800)
225-7662; fax: (516) 997-4388; e-mail: peter@
petersway.com or anette@peterswaysales.com; web:
www.petersway.com.
ITALY
Rome
January 1017, 2008
Familiarization tour: Roman Polyphony. Subsidized
and inclusive continuing education program spon-
sored by Peters Way Choir Tours. Contact: Peters
Way Tours, Inc., 25 South Service Road, Suite 240,
Jericho, NY 11753. Phone: (800) 225-7662; fax: (516)
997-4388; e-mail: peter@petersway.com or anette@
peterswaysales.com; web: www.petersway.com.
Rome
January 1017, 2008
Tenth Gregorian Chant Study Week in Italy. Chant
masters: Rev. Anthony Sorgie, Rev. Alberto Turco,
Mr. James Goettsche, and professors from the
Pontifico Instituto di Musica Sacra. Contact: Peters
Way Tours, Inc., 25 South Service Road, Suite 240,
Jericho, NY 11753. Phone: (800) 225-7662; fax: (516)
997-4388; e-mail: peter@petersway.com or anette@
peterswaysales.com; web: www.petersway.com.
VIETNAM
Ho Chi Minh City, Hue, and Hanoi
January 1021
Experience Vietnam: Pilgrimage/Study Tour. Tour
coordinator: Bro. Rufino Zaragoza, ofm. Spon-
sored by OCP Pilgrimages. Discover the beauty of
Vietnam and experience the fervor, liturgical tradi-
tions, and inculturation of Vietnamese Catholicism.
Dialogues with local Catholics, prayer at traditional
pilgrimage site. Contact Rufino Zaragoza. Phone:
(510) 536-1287, ext. 140; e-mail: RufinoZ@yahoo.
com; web: www.VNPilgrimage.com.
Please send announcements for Calendar to: Dr.
Gordon E. Truitt, NPM, 962 Wayne Avenue, Suite 210,
Silver Spring, MD 20910-4461. E-mail: npmedit@npm.
org.
55
7/16/2007 10:35:52 AM
 Singing Songs of Expectation
T
he Church was born singing hymnsand the
texts of some of those early hymns are found
in the New Testament. When history ends, we
will go into the reign of God singing a hymn
to the Lords glory with the whole company of heaven
(Constitution on the Sacred Liturgy, 8). Built on the strong
foundation of the apostolic hymns, and with the song of
the angels and saints echoing in our souls and drawing
us forward, we sing hymns and liturgical songs as part
of worship. The best song texts for us to use find their
inspiration in the Scriptures, but the music for those songs
is shaped by the many cultures in which we live, by the
heritage of hymnody that we share, and by the way these
hymns and songs are used in the liturgy.
The hymns and songs we use in worship should be
beautiful in both words and music. We need hymns that
are humanly attractive, songs of poetic beauty that show
usrather than merely tell us abouta God who is Beauty
as well as Goodness and Truth.
The Faith We Sing
A well-written and carefully chosen hymn or song will
shape our Christian spirituality and our way of living
out the Gospel. It shapes our relationship to God and to
each other as the Body of Christ. We sing to God but also
about God and about what it means to be Church. We
pray, and offer praise, and proclaim our faith through
our singing.
A wholesome song of faith becomes more and more
meaningful as we sing it repeatedly through the rhythm
Copyright 2007 National Association of Pastoral Musicians. This page may be reproduced in its entirety as a bulletin insert by parish members
of NPM without further reprint permission. A pdf version is available at www.npm.org. For other uses, contact the NPM editorial office by e-
mail: npmedit@npm.org.
30852_AS 07 Main.indd 56
of the Churchs year. With repeated singing, the
words lodge in our souls and gradually shape
our beliefs and our Christian identity. These are
the songs that we learn by heart and sing even
without looking at the hymnal. They are the ones
that become a reservoir of faith to draw on in dry
times.
The songs we sing affect the way we gather
together as Christians and the way we pray,
think, and live. They give us words and images
that nourish and sustain us and offer us a vision
of what the Church can be, if we live the Gospel
faithfully. They sing of hope in the future that
God works to create for this world.
Many people have found specific hymns and
liturgical songs that touch and expressthrough
the combination of words and musicthe deepest
sources of their faith and hope and love. Such compositions
range from the ancient songs of the tradition to newly
composed songs that sound like us and our culture.
Into the Future
Our hymns and songs dont merely root us in the past
or shape us in the present; they lead us forward. They
put the taste of Gods vision in our mouths, on our lips,
preparing us to sing the new song of praise to God and
to the Lamb (Revelation 5:914). They remind us that we
are wayfarers, as Saint Augustine called us. In one of
his sermons, Saint Augustine spoke about how we should
sing. He said: You should sing as wayfarers dosing,
but continue your journey. Do not be lazy, but sing to
make your journey more enjoyable. . . . Keep on making
progress. . . . If you make progress, you will be continuing
your journey, but be sure that your progress is in virtue,
true faith, and right living. Sing then, but keep going.1
Walk, roll using a wheelchair, run with the enthusiasm
of children, process solemnly with the great body of the
saints; stroll, dance, hike. In whatever way you move,
sing and press onward to the high calling of the people
of God.
Note
1. From Augustine of Hippo, Sermon 256, English trans-
lation from the Liturgy of the Hours 1970, 1973, 1975, 1976,
International Committee on English in the Liturgy, Inc. All rights
reserved.
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